Beyoncé Scientifically Ranked Second Most Beautiful Woman Alive; Who’s First?

If you rely on classic mathematics to determine someone’s beauty, you’ll be a big fan this chart. For centuries, people have been using science to figure out just who the most beautiful person in the entire world is. Taking somebody’s measurements and comparing them to others can be pretty problematic for so many different reasons but alas, here we are. As reported by Metro and several other sources, a list the world’s most beautiful women is making the rounds with Beyoncé standing comfortably at the second spot. You may be asking who on earth beat the queen (and no, it somehow isn’t Rihanna) and we’ve got your answer right here: supermodel Bella Hadid.

Beyoncé Scientifically Ranked Second Most Beautiful Woman Alive; Who's First?
Pascal Le Segretain/Getty s

The Weeknd’s on again-f again girlfriend has been crowned the most beautiful woman on the planet using the Golden Ratio Beauty Phi as a tool. Nearing a perfect face, Bella earned a 94.35% accuracy rating on the test, topping Yoncé’s second-best score. Following her in the polls were Amber Heard, Taylor Swift, Katy Perry, Ariana Grande, Gigi Hadid, and others. For some reason, Rihanna didn’t even crack the Top Ten and, to be completely honest, that’s straight-up blasphemy.

Obviously, this calculation is flawed to an extent. Determining someone’s beauty is pretty wack in itself but hey, I guess there are people who take this stuff seriously. Who do you think is the most beautiful woman in the world?

Beyoncé Scientifically Ranked Second Most Beautiful Woman Alive; Who's First?
Jesse Grant/Getty s

DaBaby’s ‘KIRK’ Debuts at No. 1

DaBaby is on top.

The Charlotte rapper scores his first No. 1 album on the Billboard 200 with KIRK. The 13-track set opens with 145,000 equivalent album units in the U.S., of which 8,000 were in traditional sales.

KIRK, which features Nicki Minaj, Migos, and Kevin Gates, is the follow-up to last year’s Baby on Baby, which peaked at No. 7 in June 2018. The album has earned 719,000 equivalent album to date and spawned the breakout hit “Suge,” which reached No. 7 on the Hot 100.

Taking to Instagram, DaBaby celebrated the milestone moment. “When I got the news I took my time letting it sink in cause this one different,” he wrote. “Google me and see what I done been through in the past 12 months. Then ask yourself how da fuck I’m STILL standing on all Ten. Blood, Sweat, & Tears for it. The world ain’t never seen a ni**a like me win. GOD is GREAT.”

Last week’s chart-topper, Post Malone’s Hollywood’s Bleeding, slides to No. 2 after three weeks at No. 1. The album moved 124,000 equivalent album units in the week ending Oct. 2.

Kevin Gates earns his fourth top 10 album with I’m Him, which debuts at No. 4 with 70,000 equivalent album units (10,000 in album sales). He previously reached the top 10 with Luca Brasi 3 (No. 4, 2018), By Any Means 2 (No. 4, 2017), and Islah (No. 2, 2016).

Elsewhere in the top 10, Young Thug’s So Much Fun dips 5-8 (39,000), Lizzo’s Cuz I Love You holds at No. 9 (37,000), and Lil Tecca’s We Love You Tecca falls 6-10 (35,000).

Billboard 200 Top 10

1. DaBaby – KIRK – 145,000
2. Post Malone – Hollywood’s Bleeding – 124,000
3. The Beatles – Abbey Road – 81,000
4. Kevin Gates – I’m Him – 70,000
5. Taylor Swift – Lover – 57,000
6. Whiskey Myers – Whiskey Myers – 42,000
7. Billie Eilish – When We All Fall Asleep, Where Do We Go? – 39,000
8 . Young Thug – So Much Fun – 39,000
9. Lizzo – Cuz I Love You – 37,000
10. Lil Tecca – We Love You Tecca – 35,000

DaBaby Scores First No. 1 On Billboard 200 With "KIRK"

DaBbaby has ficially earned himself a No. 1 album as his KIRK studio output lands the North Carolina-bred emcee the No. 1 slot on the Billboard 200 after clocking in with 145,000 equivalent album units.

It beats out the impressive bar he set for himself when Baby On Baby peaked at No. 7 on the same chart earlier this year. Naturally, the project’s numbers are largely composed streaming equivalent album units, with 136,000 making up the figure, amounting to a toatal 181.7 million on-demand audio streams for the effort’s 13 tracks.

DaBaby Scores First No. 1 On Billboard 200 With "KIRK"

Marcus Ingram/Getty s

It also pushes back Post Malone‘s Hollywood’s Bleeding effort to No. 2 on the chart. In its fourth week, the album earns 124,000 units, impressively logging another six-figure week since its debut.

Another notable debut on the chart arrives in the form Kevin Gates who trails The Beatles’ Abbey Road appearance at No. 4 with his I’m Him set debuting with 70,000 units. This gives Gates his fourth top 10 album.

Further on down the list, you’ll find some the past weeks’ usual suspects rounding things out as Young Thug‘s So Much Fun occupies No. 8 with 39,000 equivalent units while Lizzo’s Cuz I Love You holds onto the same No. 9 space with 37,000 unit this week. Closing out is Lil Tecca’s We Love You Tecca at No. 10 with 35,000 units.

Billboard 200 Albums Chart Top 10 (Week Ending Oct. 3rd)

1. KIRK, DaBaby
2. Hollywood’s Bleeding, Post Malone
3. Abbey Road, The Beatles
4. I’m Him, Kevin Gates
5. Lover, Taylor Swift
6. Whiskey Myers, Whiskey Myers
7. When We All Fall Asleep, Where Do We Go?, Billie Eilish
8. So Much Fun, Young Thug
9. Cuz I Love You, Lizzo
10, We Love You Tecca, Lil Tecca

Hundred of Quebec Musicians Demand Government Action to Fix Streaming Music Royalties

Over 200 musicians signed a letter demanding that the Québécois government take action so that they can receive fair compensation from music streaming services such as Spotify.

Recording industry revenues are surging, with the US-based market enjoying during the first six months alone.  The situation is similarly buoyant in Canada, but not everyone is profiting equally from this growth.  According to measly stats recently shared with Digital Music News, Spotify pays music artists a paltry $0.004 per stream on average.

This means that an artist would have to get far more than 300,000 streams in a month to earn $1,500, which is the equivalent of a minimum wage job.  That has stirred loud protests from superstar artists, including Taylor Swift and Thom Yorke.  But smaller artists are feeling the pinch the most, regardless of the geographic region.

Now, artists in Quebec are banding together to demand government action against lowly streaming payouts.  Just this week, a diverse collection of local singers, songwriters, producers, publishers and managers penned an open letter demanding change.  This includes Pierre Lapointe (pictured), Michel Rivard, Lousie Forestier and LOUD.

The group acknowledged that the advent of music streaming had greatly increased consumers’ choices and access to music.  But it’s becoming difficult for them to make a living because of it.  They added that this has led to a dramatic decrease in living conditions for many of them.

“For sure, the arrival of services like YouTube, Spotify and Apple Music have created a huge amount of choice and access to music like never before. Music has never been more present in our lives and that evolution is fantastic. But the paradox is that at the same time it’s become much more difficult for creators and the people around them to make a living. For many of us, our living conditions have become much worse in the last few years.”

The artists also indicated that music streaming has caused a steep decrease of their album sales, without providing a sufficient revenue stream to offset this.

According to them, “It does not come close to paying proper value for our music.”

“The sales of albums have radically dipped and there hasn’t been enough online revenue to compensate for those losses — far from it in fact! We estimate that a million online plays generates around $5,000, a pathetic amount, and that has to be split by the songwriters, the singers and other industry professionals. It does not come close to paying proper value for our music.”

The letter further complained about how foreign companies like Spotify — unlike Canadian companies — are not required to invest in local productions. The artists believe that these companies benefit from Canadian markets without having to comply with its laws.

“These companies have become major players in our industry but they continue to prosper without having to respect our laws — and that goes far beyond simply the fiscal inequality of the situation.”

The final and perhaps most important point the music artists in Quebec are trying to make is that without ble music artists there will be no music, and everyone will suffer as a consequence of this, including music streaming services.


Ruby Rose Flirtatiously Shades Keke Palmer For Ghosting Her At GLAAD Awards

Unknown to us, Ruby Rose and Keke Palmer have a little bit a history together. The Australian actress, who stars as Batwoman in the upcoming CW series is on a bit a press tour and paid a visit to Strahan, Sara & Keke to discuss her role. However, much the conversation was a joking shade fest towards Keke who apparently ditched Ruby at the GLAAD Awards. 

Ruby explained to the audience how she had accepted an award from Taylor Swift and was saddened that Keke wasn’t at her table after her speical moment. 

“I had some people at my table, you’re at my table, which was nice, and I gave like this big, like heartfelt, speech and I think I even like teared up and you wouldn’t know because when I go back to my table she was gone,” she said the moment. “It traumatized me to my core, so I brought an empty seat with me so that no one else make me feel like that again,” she added as an extra empty chair was placed in between she and Keke. 

The rest the interview finally got Ruby to share details on her Batwoman role but not without a few joking jabs at Keke. Peep the clip below. 

Post Malone Logs Third Week At No. 1 With "Hollywood’s Bleeding"

This week, Post Malone‘s Hollywood’s Bleeding album spends its third straight week at No. 1 on top the Billboard 200 albums chart

Earning 149,000 equivalent album units, the project experiences a 25% drop in sales and becomes the first album in nearly a year to spend its first three weeks at No. 1 on the chart. The last effort to do so was Lady Gaga and Bradley Cooper’s A Star is Born soundtrack, which spent its first three weeks at No. 1 between October and November. It would later return in March to earn its fourth week.

The accomplishment is also matched by the fact that Post’s previous beerbongs & bentleys spent its first three weeks at No. 1 as well in May last year.

Furthermore, Hollywood’s Bleeding becomes just the third album the year to earn three weeks numbers 100,000 or more. Post is joined by labelmates Taylor Swift and Ariana Grande for Lover and Thank U, Next, respectively. All three albums managed to pump out units six figures or more in their first three weeks.

Post Malone Logs Third Week At No. 1 With "Hollywood's Bleeding"


Noam Galai/Getty s

Elsewhere on the chart, Young Thug‘s So Much Fun glides down to No. 5 with 45,000 units. You’ll also find Lil Tecca’s We Love You Tecca at No. 6 with 39,000 units while Chris Brown‘s Indigo moves up to No.7 with 33,000 units.

Further down the top 0, you’ll find Lizzo’s Cuz I Love You and Lil Nas X’s 7 closing out the top 10 at No. 9 and 10.

Billboard 200 Top 10 (Sept. 29, 2019)

1. Post Malone, Hollywood’s Bleeding 
2. Zac Brown Band, The Owl
3. Blink-182, Nine
4. Taylor Swift, Lover
5. Young Thug, So Much Fun
6. Lil Tecca, We Love You Tecca
7. Chris Brown, Indigo
8. Billie Eilish, When We Fall Asleep, Where Do We Go?
9. Lizzo, Cuz I Love You
10. Lil Nas X, 7

Billboard Parent Valence Media Lays Off Staff at Spin, Stereogum & Vibe

Billboard parent company Valence Media has made editorial layoffs at Spin, Stereogum, and Vibe.

Per an article posted on Billboard, seven employees were let go from the listed magazines’ teams. The article cited a “pivot in business and content strategy” as the reason for the dismissals.

Given that Billboard and the affected companies are owned by Valence Media, once again, it appears that those with knowledge of the situation are intentionally remaining tight-lipped. However, it seems highly likely that these changes are part of an effort to restrategize and enhance the brands’ digital presences.

Spin was first published in 1985, and in 2012, its final (physical) issue was released; the publication has since been published online. Stereogum launched in 2002 and has always been an online-only media outlet. Lastly, Vibe debuted in 1993, ceased production in 2009, was purchased and restarted, and became an online-only publication in 2014.

Spin and Vibe were once highly-successful print-based brands, though neither is dominant or heavily influential online. That could be provoking some financial soul-searching, with broader cuts designed to slim down operations and create leaner editorial staffs. In January of this year, 22 other employees were laid off from Valence Media.

Other once-powerful media brands are also suffering. In August, for example, it was revealed that MTV’s Video Music Awards attracted an all-time-low number of viewers for the third consecutive year; the event featured live performances from Miley Cyrus, the Jonas Brothers, Taylor Swift, and Shawn Mendes.

Others are attempting to straddle print and online formats, with limited success.  Rolling Stone, for example, has continued to publish its print version, but this long-held practice seems dependent upon the ability of the magazine to secure exclusive interviews and photo shoots with big-name celebrities. And it’s unclear how Rolling Stone‘s print-based financials are performing.

Additionally, Rolling Stone does not limit its focus to music. To this point in 2019, broadcaster Howard Stern, Game of Thrones actresses Sophie Turner and Masie Williams, and even U.S. Representatives, have appeared on the monthly magazine’s covers.

Elsewhere, Billboard itself still maintains a print version, though circulation is understood to be low and geared towards industry readers.

Post Malone’s ‘Hollywood’s Bleeding’ Debuts at No. 1

Hooray for Hollywood.

Post Malone’s latest album, Hollywood’s Bleeding, opens at No. 1 on the Billboard 200. The star-studded set, which features appearances from Travis Scott, Future, and SZA, moved 489,000 equivalent album units in its first week, of which 200,000 were in album sales. That gives Post the second-biggest week of 2019 for any album following the debut week of Taylor Swift’s Lover (867,000).

Hollywood’s Bleeding marks Malone’s second No. 1 following 2018’s beerbongs & bentleys, which debuted with 461,000 units (153,000 in album sales). His 2016 debut Stoney opened at No. 6 on the Billboard 200 with 58,000 equivalent album units.

Additionally, the album’s 17 songs racked up 365.4 million on-demand audio streams in its first week, earning 2019’s biggest streaming week for an album. Ariana Grande previously held the title with Thank U, Next (307.1 million).

Elsewhere in the top 10, Young Thug’s former chart-topper So Much Fun rises 5-4 (53,000), Lil Tecca’s We Love You Tecca slips 4-5 (49,000), and Lizzo’s Cuz I Love You remains at No. 6 (39,000).

Billboard 200 Top 10

1. Post Malone – Hollywood’s Bleeding – 489,000
2. Taylor Swift – Lover – 104,000
3. Melanie Martinez – K-12 – 57,000
4. Young Thug – So Much Fun – 53,000
5. Lil Tecca – We Love You Tecca – 49,000
6. Lizzo – Cuz I Love You – 39,000
7. Tool – Fear Inoculum – 39,000
8. Billie Eilish – When We All Fall Asleep, Where Do We Go? – 37,000
9. Lana Del Rey – Norman F**ing Rockwell! – 35,000
10. The Highwomen – 34,000

Post Malone’s "Hollywood’s Bleeding" Launches At No. 1

This week, Post Malone earned the year’s largest streaming week by far with the debut week his Hollywood Bleeding album. Post’s third studio album gets started with 498,000 equivalent album units in its first week, making it the second-biggest week for any album this year, only bowing to Taylor Swift‘s Lover in second.

As for its streaming record, it was set to the tune 365.4 million on-demand audio streams for its tracks within the first week. The previous record-holder was Ariana Grande, whose Sweetener amassed 307.1 million streams in its first week.

Post Malone's "Hollywood's Bleeding" Launches At No. 1

Christopher Polk/Getty s 

In the remaining top 10, you’ll find Swift’s Lover at No. 2 with 104,000 equivalent album units in its third week. Melanie Martinez earns her second top 10 output as K-12 debuts at No. 3 with 57,000 equivalent album units. 

No. 4 is occupied by Young Thug‘s So Much Fun effort with 53,000 units while Lil Tecca’s We love You Tecca slips from 4 to No. 5 with 49,000 units earned in its second week. Lizzo’s Cuz I Love You holds onto the No.6 slot with 39,000 while No. 7 goes to Tool Fear’s Inoculum with 38,000 units.

Billie Eilish’s When We Fall Asleep, Where Do We Go? drops to No. 8 with 37,000 units pushed, binging her run in the top 10 to a solid six uninterrupted months. Following up is Lana Del Rey’s Norman Fucking Rockwell, slipping down six slots to No.9 in its second week while the final debut the week closes out the list as The Highwomen quartet’s self-titled debut earns 34,000 units.


Post Malone’s ‘Hollywood’s Bleeding’ Set to Debut at No. 1

Post Malone’s new album is shaping up for a blockbuster opening.

The singer’s third album Hollywood’s Bleeding is expected to debut at No. 1 on next week’s Billboard 200. According to industry forecasters, the project is set to move 475,000 to 500,000 equivalent album units in its first week, of which 200,000 are in album sales.

That would give Malone the second-largest week for any album in 2019 in equivalent album units, trailing only behind the first-week sales of Taylor Swift’s Lover (867,000 units).

Hollywood’s Bleeding, which features Travis Scott, SZA, and Future, could also earn the largest streaming week of 2019, with 375 million on-demand audio streams. The streaming record currently belongs to Ariana Grande’s Thank U, Next with 307 million on-demand audio streams.

Malone’s last album, beerbongs & bentleys, debuted at No. 1 on the Billboard 200 in May 2018, with 461,000 equivalent album units in its first week (153,000 in album sales) and 431.3 million on-demand audio streams.

Additionally, Malone currently has two songs in the top 10 on the Billboard Hot 100—”Circles” debuts at No. 7, while “Goodbyes” with Young Thug sits at No. 10. He now has eight career top 10 hits and the most top 10s for any artist this year.

Tool's 'Fear Inoculum' Is the #1 Selling Album In the 5 Countries

After a 13 year hiatus, Tool is topping the album charts on multiple continents.

Just last week, Tool’s Fear Inoculum was at record stores across the U.S., with lines out the door at some shops.  That was pretty shocking given that Tool was selling a $45 CD —though Americans weren’t the only ones snapping up copies.

According to stats emerging this weekend, Fear Inoculum has debuted atop the album charts in at least five different countries.   Beyond the U.S., the album also debuted at #1 in Norway, Australia, New Zealand, and Belgium.  Additionally, the album landed in the top five in the U.K., Germany, The Netherlands, Ireland, Italy and Finland.  And those are just the countries reporting so far.

In the U.S., Tool’s latest release sold 270,000 copies, most of which were actual albums (instead of streaming-based equivalents).  That easily topped contender Taylor Swift, whose Lover topped the Billboard 200 last week but easily got outrun by Fear Inoculum in the current period.

Of course, it takes a certain moxie to charge $45 for a CD (plus extras), especially after 13 years.

But Tool quickly sold out of its high-priced album packages, with die-hard fans turning out in force.  Incidentally, the album was also available on streaming platforms like Spotify, though it looks like most fans wanted the real thing.

The 270,000 figure was tracked by Soundscan, which also reports that 248,000 were physical album sales.  The rest came almost entirely from streaming equivalent albums, or SEAs.  That turnout could mean that Tool beat Taylor Swift’s first-week revenue total for Lover.  Swift’s release drew a much larger percentage of its sales from streaming platforms — and wasn’t priced at $45.

In the current week,  Lover scored 178,000 equivalent album units, a drop of 79% from first-week sales of 867,000 units.  Incidentally, Swift’s label, Republic/UMG touted first-week global sales of more than 3 million, though that figure has been called into question.

Meek Mill, Jaden, Pharrell & More Featured On Post Malone’s Posty Fest Lineup

Post Malone has unveiled the lineup acts that will be helping the Texas native bring in the second iteration  his Posty Music Festival as he recruits Meek Mill, Jaden, Pharrell Williams, Rae Srememurd, Doja Cat and more for the assist.

While last year’s inaugural show took place directly in Dallas, Posty will now be setting up shop in Arlington at the Dallas Cowboy’s AT&T Stadium on November 2nd.

In his caption, Post revealed that pre-sale tickets for the event would be kicking f on Tuesday, September 10th with general public sales following closely behind.

Naturally, the show’s primary headliner will be Post Malone who will be in the thick his Runaway Tour which is set to kick f on September 14th in Tacoma, Washington.

His run will last through November 21st, ending in Los Angeles as he is joined on the road by Swae Lee and labelmate Tyla Yaweh.

The Posty Fest lineup arrives just days after Post dropped f his third studio album, Hollywood’s Bleeding. As it stands, he is expected to allocate the year’s second-largest opening week with a projected pull 450k to 500k album-equivalent units, conceding the top record the year only to Taylor Swift‘s Lover opening.

UMG Announces New Publishing Deal With YouTube Star KondZilla

Universal Music Publishing has announced a publishing alliance with Konrad Dantas.

Dantas is the man behind the KondZilla YouTube channel, which has amassed over 51 million subscribers. The artist is credited with bringing Brazilian artists to mainstream attention. His KondZilla brand is linked to the funk ostentação genre from Sao Paulo. Universal will now handle the administration of his publishing rights.

MD of UMPG Brazil Marcelo Falcão said that the deal will help Konrad significantly expand his market reach.

“Konrad Dantas is a true force of nature. His passion and commitment to his dream were much bigger than the difficult circumstances he was born and raised in, and he has since created an empire that shared Brazilian funk music throughout the world.”

Dantas has already leveraged his channel into a broader media property.   Holdings include KondZilla Films, KondZilla Records, and KondZilla licensing. KondZilla’s publishing umbrella encompasses over 600 titles and more than 50 artists.

The YouTube channel launched in 2012, and eventually crossed into the billion-view club.  The channel is home to the international hit “Bum Bum Tam Tam” from MC Fioti, which reached over 1.3 billion views.  That type of viewing is usually reserved for massive major label stars like Taylor Swift, Justin Bieber, and Ed Sheeran, making the threshold doubly impressive.

KondZilla is also working with Netflix on a coming-of-age drama called Sintonia. Much of his music will appear in the series. Sintonia is a partnership between Konrad Dantas, Guilherme Quintella and Felipe Braga.

The Netflix series is being produced by Brazilian studio Losbragas and follows three friends growing up outside poverty-stricken Sao Paulo.

Netflix has already released a few trailers for the new show. Netflix is investing heavily in Brazilian originals, including 3%, O Mecanismo, Super Drags, Coisa Mais Linda, and The Chosen One.  That’s part of an aggressive global push by Netflix, with a nice upside for global music scenes.

Check out the trailer for Sintonia below.


Jeezy’s “TM104” First Week Sales Are In

After a week on the market, Jeezy’s new album TM104: The Legend the Snowman has ficially debuted at number four on the Billboard 200 chart this week. According to HitsDoubleDaily, the album managed to move a total 49,983 units in its first week, with 22,112 that number being pure album sales. In comparison, Jeezy’s last album, Pressure, debuted at number six with 72,000 units in 2017, making this quite a drop f in sales.

Ahead Jeezy this week were Taylor Swift, who took home the crown for most album sales with Lover (885K) & Brockhampton, who’s Ginger release moved 77,122 units good for the #2 spot. Young Thug, who’s So Much Fun album has been out for two weeks, managed to beat out Jeezy for the third spot on the chart this week, moving an impressive 75,690 albums.

TM104, which features guest appearances from Meek Mill, Rick Ross, Gunna, Ty Dolla $ign and John Legend, is available now on any streaming platform. Or you can Listen to it here on HNHH if you haven’t done so already.


Indie Publishing Heavyweight Reservoir Acquires Chrysalis, Blue Raincoat

Reservoir has purchased the storied Chrysalis and its Blue Raincoat sub-division.

The recently announced deal will bolster Reservoir’s already-extensive library of songs.  Already, Reservoir’s assets are stretching the bounds of ‘indie’: the publishing company currently boasts more than 110,000 copyrights and more than 26,000 song masters in its library. The brand also has several offices, including locations in New York, London, Nashville, and Los Angeles.

Chrysalis Records was founded in 1968 and is home to a number of iconic names, including Blondie, Billy Idol, Sinead O’Connor, and the Ramones (though Chrysalis holds the latter’s distribution rights only in the UK market). Under the terms of the deal, Reservoir will receive the master rights to the listed artists’ works and many other musicians’ tracks. This includes more than 20,000 songs.

Blue Raincoat Music started as an artist management company but later transitioned to publishing, and the label’s master tracks will also transfer over to Reservoir Media Management.

Jeremy Lascelles and Robin Millar, Blue Raincoat’s founders, will still be employed at Blue Raincoat and Chrysalis. However, Chrysalis co-founder Chris Wright left the company shortly after the deal was announced. At the time of writing, Wright hadn’t commented on the matter publicly.

As for Reservoir, an array of intelligent deals and well-timed acquisitions have helped the brand to profit from a multitude of chart-topping hits.  Deals like this only serve to further enhance Reservoir’s capabilities and influence over the market.

Of ocurse, Reservoir isn’t the only individual or business that’s decided to invest in master rights.  Much to Taylor Swift’s dismay, Scooter Braun , Big Machine Records, which owns the masters from , at a cool $300 million price tag.  On the publishing side, Hipgnosis, has already snagged several song catalogs from high-profile hitmakers, with more than $500 million in capital to fuel the buyouts.