Compositoras Estão Ganhando Terreno Na Televisão

Female Composers & Artists Are Gaining Ground In Television

Germaine Franco attends the U.S. Premiere of Disney Pixar's 'Coco' 

As television shows with strong female points of view continue to swell, the opportunity for female artists and composers to augment TV storytelling is rising in tandem.

Show runners and music supervisors on this season’s roster -- including Showtime’s SMILF, HBO’s 2 Dope Queens, and upcoming series Killing Eve on BBC America and Vida on Starz -- tell Billboard having a female musical voice was at the top of their minds.

“I like a mix of hearing both female and male voices and so I don’t want the gender of the voice to be the reason why… but you can’t help but have female artists because the story is about women,” says Frankie Shaw, who adapted her short film SMILF into the hit series about a single mom who uses unconventional means to make ends meet. “I naturally go to women because that’s whose point of view we’re in.”

Shaw says she’s gotten half the music cues from WFMU radio show Sophisticated Boom Boom, which almost entirely focuses on female artists from varying locales and decades. Princess Nokia and Nellie McKay are among the “new to me” discoveries she’s incorporated into her show.

2 Dope Queens, the new HBO incarnation of the standup show and podcast from comedians Jessica Williams and Phoebe Robinson, closes with a song by NY-based female rapper Nitty Scott, who was brought to the project by Williams and Robinson.

“She’s an indie artist who’s just absolutely fierce, no bullshit, who fits perfectly with the two principals in the show,” music supervisor Dan Wilcox says. “We were looking at some other more obvious choices… but I always like working with artists who are independent. It’s something that really benefits them, and there can be a little more enthusiasm on behalf of the artist involved.”

While the four Dope specials open with a Shamir song, Wilcox says it was “an important part” of the conversation to involve a female musical voice. “In this case, this might well be one of those things where somebody might hear it and say, ‘Who is this?’” he says. “And the money’s not bad for the artist. She owns her music outright, hasn’t sold off her publishing and is not signed to a label, so it’s a big win for her.”

Composer Germaine Franco “was perfect for the part” of scoring Starz’s Vida, which follows the intertwining of two Mexican-American sisters who are reunited after the death of their mother, music supervisor Brienne Rose tells Billboard.

“First of all, she is a female, which is really important because we have a lot of women involved in the show so having that perspective and voice is just an added unique part of it all,” she says. “And she’s also the only Latina composer in the [Academy of Motion Picture Arts and Sciences, music branch], which was very special.”

The series also features a slew of female artists, including Jarina De Marco, Maluca Mala, Selena and Magaly Meza. “In traditional Latin music, mariachi music, it’s very male-oriented, but the fun thing is you find a lot of this newer music and the female-fronted artists and bands become this really powerful thing we are able to show through the music,” Rose says.

BBC America’s Killing Eve, which premieres in April, packs female music cues from artists including Anna Karina, Cat’s Eyes and even Brigitte Bardot. “Creatively we thought that the show could really take a vocal on the soundtrack, and it would have been perverse for that vocal to be male when the focus is so female,” says EP Sally Woodward Gentle. “We didn’t rule out having the occasional male voice but in the end we didn’t have any.”

“From the outset, our musical vision for the show included a female voice or voices, and we explored lots of different artists and styles. It was important that the music was reflective of both of our lead characters, who are strong and complex women,” says music supervisor Catherine Grieves.

That exploration also led to the inclusion of recurring music from the band Unloved, fronted by female singer/songwriter Jade Vincent, and whose members David Holmes and Keefus Ciancia scored the series.

Creator Kay Mellor went with a Corinne Bailey Rae reboot of “Ain’t No Mountain High Enough” for the title track of new British TV series Girlfriends, which also features tracks by Amy Winehouse and Rebecca Ferguson.

The song “relates to the three women and reminds me of times spent with my girlfriends,” Mellor says. “I wanted a modern singer from the north of England whose music I love, to give it a more contemporary feel. Corrine Bailey Rae has a quality to her voice. I think it’s really important on a show with strong female PoV, that the song that opens the drama is sung by a woman.”

Similarly, the theme song for Mum, newly available on BBC Worldwide and ITV streaming service BritBox, is “Cups (You’re Gonna to Miss Me)” by Lulu and the Lampshades and Jean Simone, a revival of the 1931 Carter Family Song “When I’m Gone.”

“I think it would have been odd to have a male voice for Mum,“ creator Stefan Golaszewski says. “It's a show that's centrally about specifically female journeys. It was important to me to represent that in all aspects of the piece.”

Merrill-Williams Audio Lança R.E.A.L. 101.3 - Toca-Disco

Merrill-Williams Audio releases the R.E.A.L. 101.3 turntable system

Merrill-Williams Audio LLC of Memphis, Tennessee is proud to announce the latest version of its celebrated R.E.A.L. turntable, the model 101.3. The R.E.A.L. 101.3 retains the essential elements of the 101 and 101.2 models while adding fundamental improvements.

The most essential element retained in the 101.3 is a thoroughgoing approach to energy management design. The plinth consists of rubber elastomer sandwiched with phenolic (hence Rubber Elastomer Acoustic Laminate). All sources of vibration (motor, platter, bearing, and tonearm) are attached only to the elastomer, and each is isolated from the others in such a way that none is allowed to transmit vibration through the laminate.

Also retained are the 101.2’s microprocessor-controlled motor drive with built-in speed strobe, its energy-rejecting elastomer feet, and its sophisticated record-clamping system, which consists of a center weight (also energy-rejecting) and periphery ring. The design of the R.E.A.L. turntable is the recipient of one of only two U.S. patents granted to a turntable (#8,406,122 B2), and the first since 1958.

The improvements in the model 101.3 consist of changes in the material of the platter and the construction of the center weight and feet, in addition to enhanced cosmetics.

The retail price of the R.E.A.L. 101.3 is $7,995. This price includes the peripheral ring and the newly-designed record clamp.

U.S. distribution for Merrill-Williams is now being handled by E.A.R. U.S.A.

CEO Da Gibson Fala Sobre Os Desafios Que Os Fabricantes Estão Enfrentando

Gibson CEO Talks Challenges Facing Guitar Retail Industry: 'These Are Troubled Times'

If Gibson Guitars is in serious financial straits, longtime owner and CEO Henry Juszkiewicz has an extremely good poker face - but he's realistic about the challenges ahead.

Sitting at the head of a conference room table just outside his office at the company's Nashville headquarters just days before Christmas, he's leaning back in his chair while discussing the future of Gibson Brands Inc. with Billboard. Only a few weeks before news that the company's new CFO Bill Lawrence would be leaving the company -- replaced by former CFO Benson Woo -- and less than six months away from $375 million of Gibson's senior secured notes reaching maturity (at which time another $145 million in bank loans will be due immediately if those notes, issued in 2013, are not refinanced by then) he is discussing how both the guitar segment of his company and the music instrument industry as a whole need to embrace the future of retail.

"There are problems with the guitar retail industry," explains Juszkiewicz who has been CEO of Gibson since 1992, after acquiring the company in 1986. "All of the retailers are fearful as can be; they're all afraid of e-commerce, with Amazon just becoming the second largest employer in the US, and the brick and mortar guys are just panicking. They see the trend, and that trend isn't taking them to a good place, and they're all wondering if there will be a world for brick and mortar stores for much longer. It’s a turbulent world to be a retailer, and many of our retail partners are facing that same issue."

The holiday season was kind to Gibson: "We were expecting very good sales and exceeded expectations.  While this refers to our sales to dealers, sales to consumers at the store level were up year on year even more so," says Juszkiewicz. But the company's relationship with its retail partners is under strain. While Gibson announced in a recent press release that it has met all current obligations to the bondholders and is in the process of arranging a new credit facility to replace the bonds, fully expecting the bonds to be refinanced in the ordinary course of business, revenue still fell from $2.1 billion to $1.7 billion over the last three years. From old merchandise clogging store inventory spaces, to retail shops that hire employees who know nothing about the instruments nor how to sell them, the longtime CEO has ideas on how the industry can right the ship.

How long has the guitar retail industry been struggling?

When the stock market collapsed [in 2008], almost all retail across the board fell 30%; not just the guitar sector of that, although I will admit that the guitar business still hasn't fully recovered yet. The musical instrument industry as a whole hasn't recovered; its getting there, but its still not at the same level as where it was before.

How does Gibson plan to embrace e-commerce in an industry where a lot of people still want to get a feel for a guitar before they purchase?

Guitars are unique, and are a lot like clothing. There are some products that I call fashion products, where before you buy it you want to see how it feels and looks on you, and the guitar definitely fits both of those criteria. There is a feeling, and I believe it’s true, that every guitar is slightly different from each other; its made out of wood, and two pieces of wood will always be different from each other. We've always been loyal to retail; we still don't have a site where we sell directly [to consumers]. We probably will in the future, and part of that is in reaction to general trending toward e-commerce. These are troubled times for retail.

Where do you feel that retail has failed the guitar buyer?

The issue for Gibson in retail is that the industry has gone into a really narrow customer focus. In the 50s, music retailers were neighborhood family stores. If Johnny wanted to play an accordion, and Suzy wanted to play saxophone, there were full line stores. They weren't big, but they carried most instruments, sheet music even. It was a neighborhood staple. Those days are gone, and those stores were in deep trouble when rock and roll came along. When that happened, guitars became extremely popular, and everyone became a guitar buyer if not player. That changed the retail quite a bit; even though it was still mom and pop shops, they also became more "rock" shops, and [the business] became much younger. It also became quite unprofitable. As that demand started to decrease in guitar - at this point in time, only people who already played were starting to be the only people actually buying guitars - stores lost their family roots and started concentrating on "real" players. They had to, but they hyper focused on those buyers, and started losing money. They couldn't pay their rent anymore. I like to say, "You know where the good music stores are? Look in a city's pornography district." Sure enough, that's where [they] are. Well, parents with kids don't like to go into those areas to shop. Musicians don't have a problem going into those areas - there are usually a lot of hip clubs around there, too - but this is how the guitar business took a hard left, and left behind a lot of consumers. We've lost a lot of consumers. Women, by and large, aren't comfortable going to guitar stores. If you look around, you'll see a few, but if they are there chances are they're already musicians. You're not going to mom and dad; you're only preaching to the converted.

So how do you find new converts?

With great difficulty. I've been called someone that hates retailers, and I don't; we make a real effort in making sure our retailers make a good profit off of our product. We also serve the consumer, though, and we have to focus on the person that is paying a good deal of their money on us sometimes. The more people that like what we do, the happier the industry is as a whole.

I remember going inside [a defunct music shop in Nashville], and I saw a guy pull into the parking lot in a $150,000 Mercedes. He walks up to the counter where they kept their recording stuff, and he told the young guy working the counter, 'Look, I used to screw around with keyboards and guitar, and I want to put together a little home studio. I'm clueless about it, though, so can you just tell me what to get?' A normal merchant would hear a cash register going off in their head! This kid looked totally confused, said he needed to get something from the stockroom first, and never came back. That guy waited ten minutes before finally leaving. That is the experience that people see over and over again. It's the biggest impediment that we have to getting new people into [buying guitars]. Nobody really walks into those stores anymore without already knowing what they want, and how to get it themselves.

What specific changes do you see needed at the retail level?

The first thing we are doing is try to teach the stores how to merchandise. I've been arguing with retailers for a long time that you have to be a place where [potential customers] can sit and take in the store, and be a destination that is friendly. If you walk into most music stores, there's nowhere to sit. Give me a break! Most stores aren't comfortable places. You don't have the people in the stores that care [that there aren't any new customers].They put all of these guitars on the wall, and they put the best ones out of reach. Because you might steal one? Well, that's one way to look at it, but Apple doesn't look at it that way, and most of their stuff is more expensive than a lot of higher end guitars. Their products are just out on tables for everyone to pick up and look at, and while they have some theft protection, its not like they have a security force in each store. We just have the whole thing wrong. If you want customers, you have to be nice to them, and give them a place where they are comfortable.

Also, the merchants don't have merchandising in our industry. If you are Wal-Mart, every year you are deciding what goes inside of your stores; they know exactly what products are going to be on every square foot of shelf space, and every store is the same. That's what a chain store is supposed to be! Walk into a Guitar Center and try to tell me where anything is. It's obvious that they don't use the same planogram. They don't have the same guitars. You never know what you're going to find when you walk into one. The basics have been around for a long time; it's all about making the customer feel welcome, and helping them out by being knowledgable. That's what the industry needs, because it doesn't have it. We have to get people involved in music, and offer them a helping hand. There's a lot that can be done that just isn't being done. We have to give people options, and we can use new technology to give better experiences to our consumers. Kids are out there creating their own music and their own videos; we have to find a way to be a part of their lives. We're losing by not being a part of their lives, and insisting that they become a part of ours.

How do you get the younger generation, whose music of choice may not be particularly guitar driven, to pick up a guitar?

Kids these days are very eclectic in their interests, and they don't listen to any one genre of music. The younger generation will listen to The Beatles, Dr. Dre, and jazz. They teach themselves Garage Band; they make videos on their iPhones...they give themselves license to create their artistic visions, in as many areas of art as it takes them.

[The industry is] stuck in a time warp, and the 'purists' have a very loud voice on the online forums. If you are a kid today, you have an iPad by the age of two, and if you're not offering new technology you're old. Kids today may think some music from the 50s is kind of cool here and there, but what other industry do you know that hasn't changed since the 50s? Those guitars from the 50s are what the purists want, but we have to have something new and exciting. Imagine if the camera had never changed. Innovation is a part of every business to some degree, but [the guitar industry] hates it. The kids demand it, and if you don't have it, they walk.

'Women in Music' Se Encontram Em Miami

Women in Music Comes to Miami

Women in Music held it’s first ever event in Miami with some 80 women in attendance, ranging from senior publishing executives to managers, publicists, concert promoters, songwriters and media executives. The turnout on a Friday night (Feb. 23) at Social Hive, an upstart video production and digital marketing company doing exciting creative work, signaled that Miami’s women in Latin music (because the vast majority were Latin) are more than ready to have a discussion about their place in the industry. 

The fact that many in attendance run their own companies after having worked for multinationals didn’t go unnoticed. 

“This is what happens,” said one former label executive. “Women start at the labels and then, for some unknown reason, they fall out.”

The lack of women in top executive positions and on the charts was a concern. 

“When I moved to the U.S. there were a lot of women in the charts, and something happened and they disappeared,” said Paula Kaminsky, who was formerly VP of marketing for Sony Music Latin and now runs her own company, with Maná and Luis Fonsi among her clients. “I think the industry is not giving the support and patience women artists need.”

One thing that doesn’t favor women, said songwriter Erika Ender of “Despacito” fame, is that labels are now working singles. “And reggaeton is the thing, and reggaeton tends to be aggressive,” she said. 

And because there seems to be limited space for women, they tend to compete with each other, added someone wryly. 

But the tone on Friday evening was anything but competitive. Instead, it granted a rare opportunity to discuss as a group, and on many levels, how to move women’s issues forward in a positive and proactive manner. 

Bringing Women in Music to Miami was the brainchild of Mayna Nevarez, who owns PR and marketing firm Nevarez Communications (clients include Daddy Yankee, Carlos Vives and Elvis Crespo) and met Women in Music directors at a breakfast at Midem last year. 

“I realized women in Miami didn’t have those resources,” says Nevarez, who is still networking with women she met at the Midem event. “I felt we needed to support each other in Miami and that we, as female executives, could benefit from the tools and support that Women in Music provides.”

Nevarez contacted Women in Music president Jessica Sobhraj and planned for a launch event in October that got postponed after hurricane Maria. On Friday night, global membership co-chair Cassandra Kubinski attended, and plans are underway to officially open a Miami chapter. 

‘Red Sparrow’ Detalhes Da Trilha Sonora

‘Red Sparrow’ Soundtrack Details

Sony Classical will release the official soundtrack album for the spy thriller Red Sparrow. The album features the film’s original music composed by James Newton Howard (The Hunger Games, The Sixth Sense, The Fugitive, Signs, King Kong, Fantastic Beasts and Where to Find Them). The soundtrack is expected to be released digitally on March 2. Check back on this page for the pre-order link. Red Sparrow is directed by Francis Lawrence and stars Jennifer Lawrence, Joel Edgerton, Matthias Schoenaerts, Charlotte Rampling, Mary-Louise Parker and Jeremy Irons. The movie revolves around a young woman who is drafted against her will to become a “sparrow,” a trained seductress assigned to operate against a first-tour CIA officer who handles the agency’s most sensitive penetration of Russian intelligence. The thriller will be released in theaters nationwide on March 2 by 20th Century Fox. Visit the official movie website for more information.

Here’s the album track list:

1. Overture
2. The Steam Room
3. One Night Is All I Ask
4. Take Off Your Dress
5. Arriving at Sparrow School
6. Training
7. Anya, Come Here
8. When Did You First Notice the Tail
9. There’s a Car Waiting
10. Follow the Tail
11. Blonde Suits You
12. Searching Marta’s Room
13. Ticket to Vienna
14. Telephone Code
15. Searching Nate’s Apartment
16. Can I Trust You?
17. Switching Disks
18. Didn’t I Do Well?
19. End Titles

Composição! 5 Coisas Que os Diretores Deveriam Aprender Sobre Trabalhar Com Compositores

Score! Five Things Directors Should Learn About Working With Composers (From Hans Zimmer, Howard Shore and More)

Three years ago, I packed up my things at my desk in a Sacramento television news station and walked out of the building jobless.

I’d spent the first nine years of my career in journalism, but left emboldened by an idea for a documentary I hoped to see through—the secret lives of the world’s most famous musicians.

“Musicians” is a severe understatement. The idea was to capture a part of how composers of the world’s most iconic films and television programs craft music that makes us cry and gives us goosebumps. Or perhaps music that lifts the spirits of millions of people every day in movie theaters, theme parks and even sports arenas. We live in a world that is scored, and I intended for Score: A Film Music Documentary to unravel some of the creative secrecy behind these maestros of the modern age.

What followed was two years of interviews with composers like Hans Zimmer, Randy Newman, Trent Reznor and Quincy Jones. In all, more than 60 interview subjects—many eager to share what’s been bottling up for decades in their soundproofed music studios. Though most will never be recognized on the street, the superstar talent is undeniable to anyone seeing these maestros at work.

A collaborative art form, film has traditionally praised its onscreen talent and auteur directors for popular success, but composers play a far more crucial role in allowing a film to connect with the public. These are five milestone lessons learned through Score’s dozens of interviews, spotting sessions and behind the scenes access to the world’s most beloved film composers.

Matt Schrader, director of Score: A Film Music Documentary

1. Time = Success

For decades, film music has largely been relegated to post-production. It makes sense historically, as you can’t put music to picture if there isn’t a picture yet. But early communication with a composer can yield wildly inventive results that enhance the film beyond even the director’s ideal vision. Composer Hans Zimmer worked with Christopher Nolan on the score for The Dark Knightbefore the characters had even been established yet. Composer James Horner began work on James Cameron’s Avatar years before any of the final edits were complete. Conversely, while there have been landmark scores written and recorded in just several days, these scores are not able to build in the kind of musical ideas possible with pre-planning. Composer Tyler Bates composed music that was played on the set of Guardians of the Galaxy, allowing actors to sync to the mood and pace of the music. These kinds of early collaborations help to enhance the scope of what the score can accomplish, and avoid the pitfalls and time-crunched roadblocks often faced by filmmakers when the score is treated as a spice or seasoning rather than as its own gourmet dish.

2. Find Your Shorthand With Your Composer

In speaking with the late Garry Marshall in one of his final interviews, the topic of composer chemistry came up. Equally important to a composer’s abilities is his chemistry with the director. “You’ve got to be able to eat together,” he said with a laugh—an oversimplification of the kind of friendship and emotional support that must exist between a director and composer. In Marshall’s mind, and in the mind of many composers we interviewed in Score, it’s crucial to get on the same wavelength as early as possible. Almost as in a professional courtship, the goal is to understand each other’s emotional visions and meet somewhere in the middle to bring out the best possible result. “A composer has to be almost like a therapist,” director James Cameron told our team. Only when there is a comfort and understanding between collaborators can the good ideas start to flow freely, but it’s important to develop that connection or “shorthand” language. Marshall found this is John Debney, who learned to adapt his own skills to enhance Marshall’s creative priorities and strengthen his insecurities. Debney notes that once he developed this rapport with Marshall, a single glance could say more than 10 minutes of conversation.

Composer John Debney, director Garry Marshall and other crew in Score: A Film Music Documentary

3. Make Sure All Ideas Are Welcome

It can be difficult for a director to have an open mind once he’s shot and edited a scene. Making matters worse is the modern trend of using temp music when first showing the film to a composer—something composers almost universally detest. Remember that scores shouldn’t sound like any other story from the past; they should sound like the story you’re telling. Giving your composer a music-free cut of the film allows them to use their expertise as intended. Additionally, refrain from giving too many constraints before the composer has written any music. Trust them to do what they do, and remember they’re there because they can do things most director’s can’t. Zany musical ideas can always be reined in, but it’s hard to make a boring musical idea interesting again. Films like E.T. and Gladiator have succeeded with bold, unorthodox musical choices, but only because their directors gave their composers freedom to experiment with something truly new.

4. Composers Are Filmmakers Too

Any screenwriter will tell you the importance of a well-crafted script. You need story arcs, intensity and the structure to hold all of the many themes that recur throughout the story. The same is true with music. Composer Howard Shore discussed the importance of this with the Score team in discussing the many themes he developed for the Lord of the Rings series. When Frodo is in a distant land and sees another character from his home in the Shire, we hear the Shire theme, even though it might otherwise seem out of place in this distant land.

Composer Christophe Beck illustrated this to the Score team in his mockups for Disney’s Frozen. By establishing a mysterious magic theme early in the story, he could later work in the same theme to help the audience make a connection they might not otherwise get.

Composer Hans Zimmer at work in Score

“You should try to elevate everything that is there,” Hans Zimmer told our crew in his studio. “The story, the acting, the camerawork, and the director’s vision. And I think part of what we do is we get to tell that part of the story you can’t elegantly tell in pictures or words.”

5. Variety is King

While we put together the sequences in Score that explore different styles of film composing, it became clear how important fresh musical ideas are to film. Reused music—or music made to sound like existing music—will never be great. Each score is its own statement. While it’s evident many composers have unique traits that make their scores sound similar in one way or another, it’s the exploration and pushing of boundaries where genius happens.

As they discussed in Score, Trent Reznor and Atticus Ross won an Oscar for their music to The Social Network, which had a startlingly mismatched track in the middle of the film: an electronic rendition of “In The Hall of The Mountain King.” John Williams’ Star Wars original score is powerful and moving as a soundtrack as well—until you get to the Cantina Band track. Remember that what makes film scores unique is not only their ability to explore all the emotive corners pop music cannot, but their ability to be exactly what the story needs—whether orchestral, jazz band, the choir of “Duel of the Fates” or Antonio Sanchez’s drums-only score to Birdman.

Composer Rachel Portman in Score

And while some advances have been made, we’re entering an era in which technology allows musical experimentation to take place on a smartphone, laptop or tablet. In the future, scores won’t just be what an orchestra plays—as they largely were until the 1950s—or just what can be played with physical instruments, as they largely were until the 1980s. Evolving at the speed of the talented composers pushing the limits, scores are unrestricted by the rules of 20th-century film or today’s popular record albums—so a great film score can transcend what is necessary and reach for what truly moves our hearts.

8 Músicas De 'Black Panther' Entre As 100 Da Billboard

Eight 'Black Panther' Soundtrack Songs Chart on the Billboard Hot 100

Kendrick Lamar & SZA's "All the Stars" leads the way at No. 9. 

As Black Panther reigns at the box office with a record-breaking weekend that grossed more than $400 worldwide, the film's soundtrack is pulling its weight on the chart front. Eight songs from Black Panther: The Album -- new at No. 1 on the Billboard 200 chart (dated Feb. 24) -- land on the latest Billboard Hot 100. One earns its first week in the top 10, one reaches the top 40 for the first time and six debut.

Kendrick Lamar and SZA's "All the Stars" places the highest on the Hot 100, as the song jumps 31-9, entering the top 10 for the first time. The song earns Lamar his seventh top 10 and SZA her second.

"Stars" is the soundtrack's second top 10, as The Weeknd and Lamar's "Pray for Me" stands at No. 11, down from its No. 7 peak, and debut, a week ago.

Meanwhile, Jay Rock, Lamar, Future and James Blake's "King's Dead" blasts from No. 69 to No. 38, marking its first week in the Hot 100's top 40 (and the first such hit for Jay Rock and Blake).

Songs from Black Panther: The Album on the Hot 100 (dated Feb. 24)
Rank, Title, Artist
No. 9 (new), "All the Stars, Kendrick Lamar & SZA
No. 11 (down from No. 7 peak), "Pray for Me," The Weeknd & Kendrick Lamar
No. 38 (up from No. 69), "King's Dead," Jay Rock, Kendrick Lamar, Future & James Blake
No. 49 (new), "X," Schoolboy Q, 2 Chainz & Saudi
No. 63 (new), "The Ways," Khalid & Swae Lee
No. 67 (new), "Paramedic!," SOB X RBE
No. 71 (new), "Big Shot," Kendrick Lamar & Travis Scott
No. 91 (new), "Black Panther," Kendrick Lamar

Further, two acts score their first entries on the Hot 100, thanks to songs from the soundtrack.

Saudi makes his Billboard chart debut on "X," with Schoolboy Q and 2 Chainz, at No. 49. The South African rapper, born Anele Mbisha, sings on the first verse of "X," following Lamar's introductory hook.

Bay Area rap collective SOB X RBE also makes its Billboardchart arrival with "Paramedic!" at No. 67. The group (Slimmy B, DaBoii, Lil G and Yhung T.O.) has announced a North American tour with Post Malone. Lamar and Zacari -- who collaborated together on Lamar's DAMN. track "Love." -- provide additional vocals on the track.

Meanwhile, Lamar, who curated the Black Panther soundtrack, lands seven total songs on the latest Hot 100. Five are from the album, while "Love." holds at No. 13 and "New Freezer," by Rich The Kid featuring Lamar, jumps 60-53.

The Black Panther soundtrack debuts at No. 1 on the Billboard 200 with 154,000 equivalent album units, according to Nielsen Music. The set is one of three soundtracks in the top five, a record-tying feat that occurred in just nine prior weeks since the Billboard 200 became an all-encompassing stereo and mono albums chart in 1963.