Alex Vitoulis, a Billboard archive research manager who stores his massive collection of LPs, cassettes and CDs in four storage units and two apartments, has a bent-corners problem. Almost every time he buys a record online, he says, the sleeve containing the music arrives creased, folded, crinkled, torn, frayed or “smushed in.” As a result, he spends days emailing Amazon, Walmart, Target and others, most of which offer refunds, but he wants replacements — which they frequently deny. “It’s absolutely crazy,” he says. “Ninety-eight percent of all my product comes damaged.”

In an earlier era of vinyl collecting, Vitoulis’ complaints may have seemed petty. If the music sounds good, who cares about the cardboard sleeve? But while turntable ownership among vinyl buyers grew from 23% in 2022 to 72% last year, and record-player listeners increased from 17% to 61% during the same period, according to a recent Luminate study, many in the vinyl business say LP collecting is as much about merch as it is about listening. As Michael Tolle, operations director for Mello Music Group, a Tucson indie label, puts it, vinyl collecting is  “like the shoe market, where people are buying it not just to wear them, but to resell them, or to have value, like baseball cards.”

Not to mention that as LP prices have grown, from an average of about $25 in 2017 to more than $31 in 2023, a 25.5% increase — slightly higher than the inflation rate — buyers are paying more attention than ever to every detail of the product. For customers in today’s vinyl market, “a bent corner is a big deal,” says Steven Parelman, owner and operator of 33 & 1/3 Record Distributors in Bucks County, Pa.

“What you have is just a completely different customer buying it and a completely different set of expectations surrounding the product,” adds Carl Mello, brand engagement director for the Newbury Comics music chain. “People want it to look good and use it on social media — ‘vinyl TikTok’ or whatever. You don’t want to do that with stuff that’s all banged up, especially when your friend has a nice one.”

Over the past few years, the vinyl-as-merch shift in consumer behavior has led to an evolution in the record-packaging industry, which includes distributors, retailers, e-commerce giants, box manufacturers, artists’ webstores and even postal carriers. All these links in the record-shipping chain must contend with the reality that LPs — which are flat, fragile and round — are encased in flimsy square containers. In 2022, a task force convened by the Music Business Association set guidelines on how to best ship vinyl, from box weight to tape width. One recommendation: “Identifying damaged goods and not shipping them out.”

“It’s been a fantastic challenge for us,” says Warwick Goldby, COO for Alliance Entertainment, a top record distributor that works with Walmart, Amazon and other top retailers and earned $1.1 billion in revenue last year. “The design of the vinyl itself is not great for large-scale distribution, and the format has not changed since it was initially designed.”

Many in the record-distribution business say the pandemic was a tipping point when consumers became accustomed to ordering albums online; with more vinyl customers ordering packages to their homes, more people noticed damage to the cardboard sleeves. Music purchases have been non-refundable for years, but customers were demanding replacement copies for bent corners more than ever. “Everybody started stocking up and vinyl became ubiquitous,” Tolle says. “If they order 15 vinyl, you want to make sure it’s a box inside a box inside a box, so you don’t risk ruining a $300 or $400 order.”

In the earlier vinyl-selling era, record labels and distributors shipped pallets of hundreds of units at a time to record stores, and it was hard to damage individual LP sleeves packed so tightly together. Today’s record market is more decentralized. Many top labels still use the pallet system, and hold anything back that is “visibly damaged,” according to Ken Glaser, an Alliance senior vp of sales. By contrast, artist webstores, indie retailers and individual sellers frequently ship DIY, wrapping smaller numbers of records in postal mailers. This can lead to more damage, particularly to the exposed cardboard sleeves. “That adds to the problem,” says Kevin Hopper, physical distribution lead for Symphonic, a record distributor. “Things are getting shipped directly to the consumers. Records get thrown around trucks or [are] left out in the lane.” 

Over the last year or two, Alliance has updated its shipping package designs. For one thing, its single-unit box now has oblong “wings” on the sides so it can “take hits without damaging the product,” according to Goldby, while its box for 10 or fewer LPs folds cardboard tabs over the records to hold them in place and include openings on the side flaps that act as “air cells” for cushioning. Meanwhile, its bulk unit, which holds more than 10 LPs, basically consists of a thin, long box on each side of the package, reinforcing the records inside with more insulation. “We’ve had all sorts of interesting designs,” Goldby says. 

Other distributors, as well as indie labels and stores, often use “mighty mailers” — cardboard shipping boxes with built-in flaps designed to hold records in place — to avoid even minor damage to the LP sleeves. Parelman pays $5.50 apiece for custom boxes that hold 30 records, “a fortune” for bulk sellers. But, he says, “what makes it not a fortune is that I get virtually no complaints.” At Twist & Shout, a Denver record store, “We’re one of the places that’s very, very thorough about our packaging in mail-order,” says owner Patrick Brown. “As long as you take care on the front end, it’s way less likely to be an issue. That’s a vanishing, small part of our problems.”

“As recently as maybe 10 years ago, it seemed like there was one size of record mailer,” adds Jay Millar, general manager of Sundazed Records, an indie label specializing in Sun Ra and surf-rock reissues. “Nowadays, you’ve got your choice of at least six different types.”

Millar tries to keep empty record sleeves on hand in case customers complain of damage, which doesn’t cost much, because printers often ship 10% extra sleeves with every order. “It kind of happens on its own,” he says. Parelman takes a different approach: His home dining-room storage area is filled with so many unsold LPs due to bent sleeve corners that he just takes 300 or 400 of them to Record Store Day’s annual summer camp and gives them away.

How can the record-shipping industry resolve this problem? Alliance’s Goldby has one idea: Labels could print up empty sleeves in bulk, and send spares to customers as needed. But this isn’t a popular idea, as labels would have to boost warehouse and storage space to accommodate multiple physical items that consumers may never need. “It became a daunting prospect,” he says, “and the majors were not that excited about it.”

Vitoulis, the New York archivist and collector, acknowledges that stuff happens, given that dozens of hands can potentially interact with every shipment. Top retailers such as Amazon, Walmart, Target and Urban Outfitters, none of whom responded to requests for comment, frequently use UPS and FedEx, introducing different distribution procedures to the record-shipping process. Vitoulis says that his postal carrier, irritated by having to deliver countless packages to Vitoulis’ apartment, which is located on a higher floor, “just tosses and kicks everything to begin with.” 

But Vitoulis wishes music suppliers were more willing to send replacement items than just offer to refund his money — which many have done. As he puts it, if he buys a limited-edition collectible and it arrives damaged, a refund is of little use when the product is sold out. “To me,” Vitoulis says, “people should be held accountable.”

Buddy Guy shreds onto Billboard’s Blues Albums chart (dated Aug. 16) at No. 1 with his latest LP, Ain’t Done With the Blues. Having turned 89 years young on July 30, the legend — who released the set on his birthday — adds his eighth No. 1 on the chart, which began in September 1995.

Guy’ 20th studio set starts with 3,000 equivalent album units earned in the United States Aug. 1-7, according to Luminate.

Guy, who received Billboard’s 1993 Century Award for artistic achievement, extends his chart history to nearly 63 years and six months, dating back to the debut of “Stone Crazy” on the then-titled Hot R&B Sides singles ranking in the Feb. 24, 1962, issue. The Chicago blues purveyor and Louisiana native ties for the eighth-most leaders on Blues Albums. Joe Bonamassa — who guests on the new release — boasts a record 29 No. 1s. Other artists on the album include The Blind Boys of Alabama, Peter Frampton, Christone “Kingfish” Ingram and Joe Walsh.

The new coronation follows Guy’s buzzy cameo in the critical and box office hit Sinners. The blues-heavy set, which includes Guy’s song “Travelin’,” has spent 13 weeks at No. 1 on Blues Albums — and gives way to Guy’s album at the summit.

Ryan Coogler wrote, directed and co-produced the movie, whose stars include Michael B. Jordan and Hailee Steinfeld. It’s set in the Mississippi Delta in 1932, when the Delta blues sound was emerging.

“Movies, man …,” Guy marveled in a recent Variety interview. “As a kid, I loved the Westerns, because I grew up riding horses in Louisiana on the plantation, and seeing those old cowboys like Gene Autry, playing the acoustic guitar while riding a horse … I can’t imagine that’s me now. It’s a dream come true, to be honest with you.

“When something like this comes along, I do it to help the blues,” Guy said. “I’m 100% trying to support it so the next generation of white or Black kids can hear it and know more about the blues. Anything we can do to help the blues stay alive, I’m for it.”

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Back-to-school season is here! Get ready for the upcoming academic year with our favorite budget-friendly school essentials. From a reliable backpack, to a stylish pencil set, to popular water bottles and base-pounding earbuds, you’ll find all the essentials you need to thrive in class without breaking the bank. Whether you’re moving into a new dorm or gearing up for the 2025 school term, here’s everything you in under $40.

Finding school essentials can be challenging, so we’ve created this short list to speed up the process and help you get started. To kick off your back-to-school shopping list on the right foot, you might want to add this high-quality L.L. Bean tote bag, a sleek, insulated Herschel lunch box, and a simple, but effective desk organizer at Walmart.

Speaking of Walmart, want free shipping on Walmart items? Join Walmart+ for free for the first 30 days. The membership includes free shipping and free delivery from your local store, free Paramount+ and so much more! If you’re shopping on Amazon, consider taking advantage of all Amazon Prime has to offer and sign up for a 30-day free trial, which also comes with access to Prime Video, Prime Gaming and Amazon Music. And to help make sure you get your purchases quickly, being a Prime member means you get fast, free shipping in two days or less with Prime Delivery.

Keep your lunch fresh with the Pop Quiz lunch box carries. The bag features an insulated easy-wipe interior, alongside a a front pocket for storing cutlery or extra snacks. Spilled something? No problem — the inside wipes clean with ease.

Thanks to the brand’s many recording artist and athlete co-signs, including Post Malone and Lionel Messi, Stanley tumblers are the most s ought-after water bottles on the market. For only $35, you can now join in on the bottle craze.

Stand out from the rest of your classmates with these incredible pencils. Featuring an eye-catching natural wood design, premium Japanese graphite, and a long lasting extra-firm lead, Blackwing pencils have quickly become out favorite.

If you don’t want to lug around a backpack all day, this popular L.L. Bean tote bag is the perfect alternative. With a variety customizable features, you can craft the ultimate bag that fits your style.

Keep all your assignments and class projects organized with this minimalistic monthly planner from MUJI.

Do you need to concentrate and study? Block out all the background school noise with these adorable earbuds. They come equipped with bluetooth 5.2, 10mm drivers for deep bass, and a fast charging case.

This 17.5-inch backpack is simple, but effective. It features a water-resistant build with multiple interior and exterior pockets to help keep your things neatly packed. There’s also an interior laptop pocket that fits an up to 15-inch laptop and padded shoulder straps for comfy carrying all day.

No one likes a clutter. Keep your accessories organized in one place, so you don’t have to keep asking your classmate to borrow a pen.

With sturdy twin spiral rings, premium paper, and perforated pages, this minimalistic notebook is great upgrade from your usual simple notepad.

Thanks to its fast-drying ink, this 3 pen bundle is great for everyday writing.

For more product recommendations, check out how to level up your back-to-school beauty look, as well as, our guide to the best back-to-school sneaker deals worth shopping online now.

Raekwon and Mobb Deep shifted hip-hop with their 1995 albums, Only Built 4 Cuban Linx… and The Infamous, respectively — now they’re hitting the road for a co-headlining 30th anniversary tour to celebrate.

The Wu-Tang Clan rapper and Mobb Deep’s Havoc announced the North American trek on Tuesday (Aug. 12) with artist pre-sale set for Wednesday (Aug. 13) while the general public’s tickets hit the market on Friday (Aug. 15) at 10 a.m. local showtime.

“Me and Havoc from Mobb will be pure hip-hop at its finest. This is gonna take rap shows to the next level — guaranteed,” Raekwon said in a statement.

Havoc added that “fans can expect nothing less than pure, raw, unfiltered energy on stage. I’m excited to celebrate these two legendary albums — the world doesn’t exist to me without that purple tape in it. This will be a tour the fans will never forget.”

The 19-date tour is slated to kick off in Portland on Nov. 13 and will run through San Diego, Los Angeles, New York, Houston, Dallas, Chicago, Detroit, Toronto, Boston, Philly, Atlanta and wrap up in Miami Beach on Dec. 15.

The Infamous served as Havoc and the late Prodigy’s magnum opus sophomore album, which reached No. 3 on the Top R&B/Hip-Hop Albums in 1995. Prodigy passed away in 2017 at the age of 42 due to accidental choking after a lifelong battle with sickle-cell anemia.

As for Rae, the Chef cooked up his Only Built 4 Cuban Linx… debut album in August 1995, which entered the charts at No. 4 on the Billboard 200.

Raekwon’s still sharpening his lyrical sword, as the rap legend delivered his The Emperor’s New Clothes album in July.

Find all of the dates for the co-headlining tour below.

After dropping “The Giver,” a stab at country-pop that lasted just eight weeks on the Billboard Hot 100 after debuting at No. 4, Chappell Roan unleashed her newest single, “The Subway.” Once again teaming with Dan Nigro, the 2025 Grammy winner for best new artist instantly earned the highest-charting Hot 100 hit of her career when “The Subway” launched at No. 3 on the Aug. 16 chart.

Though she insists her second album isn’t coming anytime soon, the performance of “The Subway” offers valuable insight into Roan’s ranking in the Top 40 landscape as she moves further away from her breakthrough debut album, The Rise and Fall of a Midwest Princess.

Will “The Subway” last longer on the Hot 100 than “The Giver?” Does “Subway” have the potential to become Chappel’s first Hot 100 No. 1 hit? Billboard staffers discuss these questions and more below.

1. Chappel Roan’s “The Subway” debuted at No. 3 on the Hot 100 this week. Is that higher, lower or about where you would have expected this song to debut? 

Hannah Dailey: Given how long it took for her to release “The Subway” after first performing it at Gov Ball — 14! Months! — I’m pleasantly surprised that “The Subway” debuted as high as it did. Though I feel confident it would have had a straight shot to No. 1 if she’d released it a year ago when everyone was still freshly caught up in the Chappell craze, at this point, I would’ve expected it to enter the chart in the mid- or lower top 10 range. She and her team should be really happy.

Stephen Daw: Just a little bit lower than I’d initially thought. After seeing the massive streaming numbers this song was pulling in during its first few days, I thought it had a better-than-average chance of taking the top spot on the Hot 100. Still, though, debuting a song at your highest chart position to date is no small feat!

Kyle Denis: This is a bit higher than I expected! “The Giver” was fairly divisive, but clearly not enough to overshadow the anticipation for “The Subway.” It also helps that “The Subway” debuted alongside its exceptional music video, marking Chappell’s first proper music video since “Hot to Go” two years ago.

Lyndsey Havens: My instinct was to say higher, but as I think about it, a No. 3 debut is pretty much exactly what I’d expect for “Subway” for two reasons. It’s a natural debut spot for Roan, who has become something of a chart mainstay these last couple of years. Plus, given the more ballad-inspired nature of the song, it fits in perfectly with what else is resonating right now — look no further than previous chart-topper, “Ordinary” by Alex Warren. “The Subway” comes at the right time in both popular music and Roan’s career, as it shows yet another side of the multidimensional pop star, one that’s softer and showcases her incredible vocal prowess — proving that not all hits need to be burning “h-o-t.”

Jason Lipshutz: Higher. Considering that “The Giver” was Roan’s first post-Midwest Princess release, was teased with more fervor than “The Subway” and sounded more uptempo and radio-friendly, I expected that song’s No. 4 debut to serve as a bar that “The Subway” could not hurdle. Yet fans seem to be responding more positively to “The Subway” than to its predecessor, with a huge streaming bow powering an even higher chart launch. As a fan of the new single, I’m pleasantly surprised that “The Subway” is now Roan’s highest-charting hit.

2. Was “The Subway” worth the hype? Is it a worthy follow-up to “The Giver?” 

Hannah Dailey: Yes and yes. From the sharp lyrics to Chappell’s stunning vocal delivery — and of course, that glorious outro that hits just as hard as the first time you heard it every time you press “play” — this song is truly a fantastic piece that stands apart from everything else in the top 40 right now in the best way. “The Giver” is a great song, but everything about the rollout for “Subway” feels way more thoughtful and complete. I definitely think she leveled up here.

Stephen Daw: This song absolutely met and surpassed my expectations, and is a phenomenal improvement on what she set up with “The Giver,” all the way down to her strategy when rolling it out. She and Dan Nigro managed to keep the soul of the song intact while changing around some arrangements and adding small production flourishes to make the studio version stand apart from her live performances. Even fans who have been listening to bootlegged live versions for well over a year will keep going back to the studio recording to find the new bits they love.

Kyle Denis: I think so! I can already tell this will have more staying power than “The Giver” on both my daily personal playlist and the Hot 100. Quite simply, “The Subway” is a better execution of Chappell’s vision than “The Giver.” The latter attempted to capture arena-sized Shania Twain-esque country-pop but lacked the necessary punchiness; the former effectively channels the yearning timbre of The Cranberries’ Dolores O’Riordan. “The Subway” isn’t just a worthy follow-up to “The Giver,” it’s also one of my favorite pop songs of the year so far.

Lyndsey Havens: Totally. “The Subway” is a really gorgeous song — and both from a skillset and thematic point of view, it follows “The Giver” nicely. Much like “Subway,” “Giver” showed an entirely new country side of Roan. And I think any fan appreciates when an artist not only walks a new path, but pulls it off this well. Lyrically, you could argue that there’s a thread between giving too much in a relationship that results in losing the girl (“Subway”) — but that’s just one line of thinking. The main takeaway, I think, is that Roan isn’t leaving any stone unturned when it comes to her sonic evolution, and how lucky are we to be along for that ride?

Jason Lipshutz: “The Subway” better showcases Chappell Roan’s respective skill set than “The Giver”: whereas the latter was marked by winking innuendos and genre exploration, “The Subway” utilizes the pop star’s knack for sweeping emotion, presented here in a lush alt-pop landscape and accentuated by a heart-wrenched outro. If “The Giver” felt like an unexpected detour, “The Subway” centers Chappell and sounds like it could become one of her defining songs. So, yes, very much worth the hype.
 
3. “The Giver,” Chappell’s only other release of 2025 so far, debuted at No. 4 and spent just eight weeks on the Hot 100. Do you expect “The Subway” to stick around a little longer? 

Hannah Dailey: I definitely think this song has the capacity to be a lasting hit, especially if Chappell continues to promote it. I could see it easily locking down a semi-permanent spot in the top 10 or maybe even reaching No. 1 at some point. But even if she does just let “The Subway” chug along on its own following this initial round of promo, I’ll be surprised if it completely falls off the chart any time soon. That outro is just too addicting; fans aren’t going to quit listening on repeat for a long, long time.

Stephen Daw: I think so. While “The Giver” was (and still is) a great song, it felt like Chappell and her team put a lot of effort into the weeks leading up to the track’s release, and then offered little else once fans had the song. The way they approached “The Subway,” meanwhile, has felt different, and its release felt much more like an event that got fans around the world talking. If she can get more radio stations to start picking this song up in the coming weeks, I could see “The Subway” becoming a runaway hit that hovers around the top 40, much like “Pink Pony Club” has continued to do for this entire year.

Kyle Denis: I definitely think “The Subway” will stick around longer than “The Giver.” Theoretically, “Subway” shouldn’t have to battle against a “Pink Pony Club” re-peak, and sonically, it’s far more in line with the sound fans and casual listeners have come to expect from Chappell. With a music video in tow and radio already latching on, I expect “The Subway” to stick around well into the fall.

Lyndsey Havens: Not necessarily. With the music video already out, I wouldn’t be surprised if it enjoys a similar lifespan on the chart. And in a way, I wouldn’t be mad if it falls off soon… only because Roan has proven that good things always come back around. And I have no doubt that if and when these songs end up on a project, their staying power will be much stronger.

Jason Lipshutz: Yeah, “The Subway” sounds like the more enduring hit. Although “The Giver” has the hook and tempo of a country-pop track that could cross over to top 40 radio, “The Subway” contains the emotional wallop that made “Pink Pony Club” a months-long smash for Roan. Make no mistake — as a fan, I want Chappell to keep taking left-field chances like “The Giver” and expand her aesthetic. Yet “The Subway” exists more squarely in her pocket of commercial success, so I’d expect it to be around the upper reaches of the Hot 100 for a bit.

4. Chappell recently confirmed that her second album isn’t coming anytime soon. How do you anticipate that might impact the long-term performance of “The Subway?” 

Hannah Dailey: It’s very possible that people’s hype for “The Subway” will die down more quickly now that we know it’s not directly leading to a Midwest Princess follow-up, but… I almost wonder if removing that anticipation from the equation will actually enable fans to enjoy the song even more than they would have otherwise. Without any album noise diluting the conversation, people can just appreciate “The Subway” for what it is, coming back again and again and getting more out of the song than they would have if they’d just been treating it as merely one taste of a bigger project to come.

Stephen Daw: With the single-into-album release structure most artists take today, that leads to pretty natural boosts for singles on the charts once the album they’re a part of is out. So, Chappell not releasing an album for a little while could very well mean that “The Subway” doesn’t get the elongated shelf-life that her fans would want to see for it. But, stranger things have happened on the charts — a fictional K-pop band is currently locking down the No. 1 spot! Anything can happen!

Kyle Denis: As it stands, I think it can go either way. “Good Luck, Babe!” became one of her defining hits without ever being attached to a larger project, so “Subway” could certainly replicate that trajectory. On the other hand, if “Subway” peters off a bit earlier than expected, an album release almost always gives the focus singles a second wind. Right now, I’m of the mind that “Subway” will be just fine without an album on the horizon.

Lyndsey Havens: Though I doubt it’s intentional, I think the long wait can only benefit any singles that come until the album. We’ve seen how well Chappell does over time; in fact, the lengthy timespan between the release of The Rise and Fall of a Midwest Princess and its chart success is a huge part of Roan’s story as a rising star. If there is a long gap between these singles and an album — assuming they will even be on her next project — that only helps them to be enjoyed all over again.

Jason Lipshutz: It’s tough to say, since streaming listeners aren’t likely to play a song more or less often due to the rumored release window of its host album. If we don’t get any new Chappell music for a while following “The Subway,” that may extend its mainstream shelf life, since it will have less competition from other potential songs from her highly anticipated Midwest Princess follow-up. But if we do get a new album sooner rather than later, “The Subway” might be one of the stronger tracks on it! I think that, whether Roan is telling the truth about her second album or if she’s setting up fans for a surprise, “The Subway” is going to stand on its own as a hit single.

5. “Good Luck, Babe!” and “Pink Pony Club” both peaked at No. 4 on the Hot 100. What advice would you give Chappel to get “The Subway” to the top spot and claim her first No. 1 single? 

Hannah Dailey: Get on TV and sing. That’s it. “Good Luck, Babe!” and “Pink Pony Club” both took off with a lot of help from Chappell’s string of magnetic festival sets in 2024, because there’s a special sort of magic that’s embedded into each one of her songs that doesn’t fully unlock until she performs them live. If we could just get one definitive performance of “The Subway” on a late-night show, there would be no stopping this song.

Stephen Daw: Outside of pushing for more radio play, I’d love to see her start performing this song live in as many formats as she possibly can. Morning shows? Late-night talk shows? The upcoming MTV Video Music Awards? I think making her voice inescapable could make a big difference for the future of “The Subway.”

Kyle Denis: This is the kind of song that just needs one major performance, preferably one that airs on national TV. Chappell could easily shut down the VMAs or any fall or winter awards show with a rousing performance of “Subway.” After that bridge/outro gets its big moment, it’s outta here! 

Lyndsey Havens: Keep us waiting, girl. (Mostly) everything about Roan’s rise has felt slow and steady — at least from the outside looking in — so there’s no reason to rush anything now or push for promotional tactics that feel inauthentic. I wouldn’t be shocked if, over time — even if it takes five years, as she teased of her second album’s timeline — “The Subway” gains in all metrics naturally. As Roan said herself on “The Giver,” “I get the job done.” And I have no doubts about that.

Jason Lipshutz: We need an epic live performance of “The Subway” — which we already got last summer, when Roan debuted the track in front of various festival crowds. Now that a studio version of the song has been released, however, let’s hope a splashy primetime performance (maybe at the upcoming VMAs?) helps its momentum surge, and “The Subway” becomes a very worthy first chart-topper for Chappell.