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08 Mar 2024

Where Springsteen, Southside Johnny and Little Steven Made History: The Stone Pony Hits 50

Saddle up: There’s a big anniversary in Asbury Park, N.J.

The Stone Pony, birthplace of Southside Johnny & The Asbury Jukes, is celebrating 50 years. In February 1974, New York native Jack Roig opened the Ocean Avenue club, situated across from the Asbury Park boardwalk, and local superstar Bruce Springsteen soon brought it to national fame.

The Jukes started playing regularly at the Pony in 1974 as one of the venue’s first house bands — and early incarnations included future E Street Band member Little Steven Van Zandt. Springsteen began to hang around soon after.

The 1976 record release party for the Jukes’ debut, I Don’t Want To Go Home, helped put the club on the map. Springsteen, members of the E Street Band and legendary singers Ronnie Spector and Lee Dorsey made guest appearances at the concert, which was simulcast across the region including on major Philadelphia rock station WMMR-FM. The sound of Asbury Park — a merging of rock’n’roll and horn-fueled R&B and soul — was a hit.

The venue has had several owners since its ’70s heyday with Roig and his partner, Robert “Butch” Pielka, who sold the venue in 1991 before it became a short-lived dance club called Vinyl from 1998 to 1999. A year later, Domenic Santana reopened the club with a ballyhooed press conference that included an appearance by then-New Jersey Gov. Christine Todd Whitman, only to move on by 2003 and leave real estate company Asbury Partners in charge. With the future of the Stone Pony in doubt, it hired Asbury Park local Caroline O’Toole, who left a nearby club to manage the venue. O’Toole stayed on when developer Madison Marquette took ownership in 2008. The company brought Live Nation on board that year.

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For more than 30 years, the city and oceanfront had been in a downward spiral that included riots in 1970, a desolate downtown and empty beaches on hot summer days. Springsteen spoke of Asbury Park’s “boarded-up windows, the empty streets” in “My City of Ruins.” These days, the city and its famed music venue are choice destinations.

“Shows were sold out at the Stone Pony,” President Barack Obama said on the city’s boardwalk, steps away from the venue, in 2013 after Superstorm Sandy. “I think a friend of mine from here once put it pretty well: ‘Down the shore, everything’s all right.’ ”

Players, The Stone Pony, Asbury Park

The modest- looking venue (shown here in 2005) has helped drive the revitalization of Asbury Park.

John Cavanaugh

The Stone Pony’s 850-capacity indoor stage and 4,500-capacity outdoor Summer Stage have hosted stars from Elvis Costello to Blondie, Green Day to Demi Lovato, as well as local favorites like Springsteen over its 50-year history. The modest building, painted white stucco on the outside with a simple rectangular floor plan, will continue its storied legacy with anniversary shows throughout the year. The Jukes played there Feb. 16 and Feb. 17 (although Southside Johnny left the second show early and was briefly hospitalized for dehydration, according to a band spokesman).

On the boardwalk overlooking the venue, O’Toole — whom Roig has called the Stone Pony’s “best manager” — discusses the venue today, its role in Asbury Park and the magic of a rock’n’roll night on the Jersey Shore.

Founding owner Jack Roig is still a familiar sight at the Stone Pony.

One of the things that makes the venue so special is that we’ve never tried to erase the past. We embrace the past. And Jack, it doesn’t get any earlier than him and Butch [Pielka], and his spirit is always there.

When you’re in the club off-hours, what do the walls talk to you about?

Probably most of the things I can’t tell you. (Laughs.) But I think it speaks volumes about customers’ experiences and band experiences and history that was being made when we didn’t even know it was being made. A lot of E Street members meeting their wives there; Bruce [Springsteen], especially, meeting Patti [Scialfa] there. All of these things were happening in addition to the music being played. It’s amazing to hear those stories and know that the Stone Pony was part of that.

Why do you think people make such a strong connection with the Stone Pony?

People come there for the music and the vibe. It’s like perfect conditions for meeting somebody, and you’re meeting somebody with the same interest, same ideology that you have. That music is a source for the good things in your life.

Players, The Stone Pony,

The Stone Pony Summer Stage, adjacent to the club, has hosted scores of national acts such as Asking Alexandria in 2019.

Chris Spiegel/Blue Revision

What were the venue and the city like when you first started working here?

It was 2003, and the boardwalk was still very much a desolate area. The redevelopment company at the time, Asbury Partners, was here, but everything was still in the very early stages. What I noticed the most [as someone] coming from the Belmar community [where O’Toole lived at the time] was that Memorial Day weekend in Belmar was a big deal. I remember being here in the summer thinking, “This is nothing like Belmar,” and it’s only three towns away. I couldn’t get over that. I just couldn’t believe what Asbury was like [in the midst of its decadeslong economic decline] in the summer. It took every bit of effort on my part, on a couple of other people’s parts, to keep [the Stone Pony] there because there were so many times in that five years [it] could have gone out of business.

What shows does Live Nation book at the Stone Pony? How does that work?

They book 99% of the outside shows [on the Summer Stage, adjacent to the club]. Once in a while, I’ll throw in one, or there will be a special rental or something like that. They book a lot of our inside shows, mostly all the national acts, and it’s probably well over 100 a year inside alone. Outside, we average 35 shows.

What happened in 2008 when the current owner, developer Madison Marquette, came in?

2008 was the turning point. Gary Mottola, who’s with Madison [as president of property investments], just when the real estate market tanked, he said to the company, “Let’s go, let’s do this.” They threw $90 million at the boardwalk [after the crash], and that’s what turned Asbury Park around.

Southside Johnny & The Asbury Jukes’ 1976 live broadcast really put the Stone Pony on the map.

No doubt about that, and it’s why he gets a lot of credit for the Pony being here. Not only is he a part of the history, but he has created moments for other people to create history. He’s a special guy; they’re a special band.

One thing that people get wrong is Springsteen did not get his start here — though he obviously helped put the Stone Pony on the map, too.

I always say Southside and Bruce made the Pony famous, not the other way around.

Springsteen’s a familiar face, too. He’ll play private benefits from time to time, he danced with Scialfa at a Quincy Mumford sound check in 2019, and he came to the memorial for longtime club fan Kerry Layton, whom many called “the Ambassador of the Stone Pony.”

Every time he’s there, it’s special. Especially when it’s just a regular moment, like him wanting to show Patti the new back bar, and that’s when the dance happened because Quincy Mumford was onstage sound-checking. Something that simple, like him wanting to show his wife how nice it looks in there, that was really cool.

Players, The Stone Pony,

A benefit show in 2003 for the Light of Day Foundation (which raises money to research cures for Parkinson’s disease and related illnesses) that featured (from left) Joe Grushecky, Bob Benjamin, Michael J. Fox and Bruce Springsteen.

John Cavanaugh

What do musicians playing the Stone Pony for the first time say to you or want to know about the venue?

It’s funny. During sound check, I’ll [sometimes] hear them doing a Bruce song that they don’t normally do. There’s nothing else they need or want to know. They’re here because of the history, and they want to be part of it. Every act that comes in here and adds to the history just keeps the legacy going.

The area has experienced two really tough times in recent years: Superstorm Sandy in 2012 and the coronavirus pandemic. The club helped build a sense of community in the aftermath of those two events.

It’s being a beacon of hope, a beacon of light in our town and on our shore. People say, “Is the Pony OK? OK! The Pony’s OK, I’m OK, we’ll get through it OK.” It mattered to a lot of people that it was still here after both terrible events.

What’s the Stone Pony’s role with the big festivals that come through?

We’re glad to be included. Stacie George, vp of Live Nation New York, was determined from the beginning to really make [the annual New Jersey LGBTQ+ Pride Celebration in Asbury Park] something. Up until then, it was maybe a show here or there, but this year we will have three or four solid days of Pride shows, and that has never happened before. Again, it’s history in the making, and I’m very proud that’s what’s happening. I’m glad the community has embraced the acts that have come here. [For] Sea.Hear.Now, we’ve had some legendary aftershows, and I’m glad that a festival like that is here. The people who run it [including Asbury Park-based music photographer Danny Clinch] are friends of ours, and they’re incredible people.

What’s the role of the Stone Pony in Asbury Park in 2024?

The future of the community has gotten so much brighter with new things coming through. The Pony is a symbol that we don’t have to let go of our past to embrace our future. The Pony is a symbol of both those things.

Chris Jordan is the music writer for the Asbury Park Press, which is part of the USA Today Network.

This story will appear in the March 9, 2024, issue of Billboard.

08 Mar 2024

Watch Travis Kelce Kiss Taylor Swift & Rock Out to ‘Look What You Made Me Do’ at Eras Tour Show

Travis Kelce is proving that Taylor Swift‘s Eras Tour never gets old. The Kansas City Chiefs tight end was in attendance at the “Anti-Hero” singer’s concert in Singapore Friday night (March 8), and between jamming to “Look What You Made Me Do” and kissing his superstar girlfriend after the show, it looks like he had a great time. 

Fan videos captured Kelce passionately dancing to the pop star’s Reputation lead single with his friends and tens of thousands of other Swifties at National Stadium, rocking from side to side while singing along to the lyrics. And yes, he did snag one of Swift’s signature light-up bracelets, matching the rest of the crowd. 

In another clip taken just moments after the show wrapped, the athlete waits patiently backstage for the 14-time Grammy winner to make her way toward him — after which she wraps her arms around him and kisses him as fans roar with delighted screams. The couple then walks through a large black curtain, but not before sneaking in another quick hug. 

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The night marks Kelce’s third Eras show since he and Swift began dating last summer, beginning with his trip to Buenos Aires in November. Most recently, he caught one of the musician’s February performances in Australia, where the pair also went on a date at the Sydney Zoo.  

“Australians are pretty rowdy,” Kelce recalled on a recent episode of his New Heights podcast. “They like to have a good time, I like to have a good time … Taylor’s very fond of performing in Australia because of the crowds over there and how into it they get.” 

Watch clips of Kelce enjoying the Eras Tour in Singapore below. 

08 Mar 2024

Friday Music Guide: New Music From Ariana Grande, Bleachers and More

Billboard’s Friday Music Guide serves as a handy guide to this Friday’s most essential releases — the key music that everyone will be talking about today, and that will be dominating playlists this weekend and beyond. 

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This week, Ariana Grande finds her Sunshine, Jack Antonoff pushes Bleachers forward and 4batz receives a huge co-sign. Check out all of this week’s picks below:

Ariana Grande, Eternal Sunshine



While Eternal Sunshine, Ariana Grande’s seventh studio album, explores a new beginning in her romantic life, the pop superstar is also pressing start on a fresh phase in her career: following 2020’s Positions and ending her longest gap between full-lengths thus far, Grande sounds emboldened through elapsed time and newfound wisdom, and more uncompromising than ever in her lyrics and aesthetic. Thumping lead single “Yes, And?” acts as a bit of a red herring for an album that’s often pensive and prodding, with the subtle R&B of Positions expanding in scope and deepening in detail; pop fans will find more playlist fodder in the shimmering synth showcase “We Can’t Be Friends (Wait For Your Love)” and the snappy, clever “The Boy is Mine” re-imagining, but Eternal Sunshine is an extended dive into the psyche of a generational talent who’s only getting more thoughtful, and better, with time.

Click here for a full breakdown of every song on Ariana Grande’s Eternal Sunshine.

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Bleachers, Bleachers 



Jack Antonoff keeps refining Bleachers, but instead of sanding down his band’s rougher edges, he’s amplifying their quirks, and translating the live-wire energy of their live shows into the studio setting. Bleachers, Antonoff’s fourth and best album as the leader of the collective, is an apt project to end up self-titled: songs like the rollicking “Modern Girl,” wistful “Alma Mater” and quietly graceful “Woke Up Today” exist in different modes but get to the root of Antonoff is trying to accomplish, various shades of indie-flecked pop-rock with communal hope coalescing around his strengthening voice.

4batz feat. Drake, “act ii: date @ 8” remix 



Since Drake emerged as a star in the late 2000s, there have been multiple years in which his career was defined by hopping on smaller artists’ hit songs and pouring some gasoline on their chart prospects. That age-old impulse returns with the remix to “act ii: date @ 8,” the viral R&B smash from Dallas native 4batz; here, Drizzy essentially doubles the original song’s length and remakes the second half in his image, taking 4batz’s late-night musings and running with an extended verse on love and lust.

Norah Jones, Visions 



Now squarely in her forties and 20 years removed from her mega-selling debut album Come Away With Me, Norah Jones keeps regularly cranking out accomplished, sonically adventurous projects. Visions, her strongest since 2012’s Little Broken Hearts, is especially daring in its verve, a soul record that’s swirled a little garage-rock onto its canvas: Jones sounds fantastic leading full-throated tracks like “Paradise” and “All This Time,” while producer Leon Michels guides the throwback arrangements with a light touch.

Editor’s Pick: The Marías, “Run Your Mouth” 



“Hope you dance to this one,” Marías leader María Zardoya declares in a press release for the band’s new single “Run Your Mouth,” which precedes forthcoming sophomore album Submarine. It’s easy to oblige: “Run Your Mouth” boasts an effortless groove that funks up the Marías’ alt-pop sound, with a hustling tempo and an extended instrumental breakdown that invites embarrassing hand-dancing (for some of us, at least). Drop this in your favorite weekend playlist and don’t think twice.

08 Mar 2024

Half of Women in Music Industry Say Gender Discrimination Persists, New Report Finds

In honor of International Women’s Day (March 8), Believe and Tunecore have released their fourth annual collaborative report Be The Change: Gender Equity In Music.

Prepared by MIDiA Research and featuring a forward by Melissa Etheridge, the report aggregates responses from 4,146 creators and professionals in the music industry. This research was done through an online global survey translated into 14 languages and executed in November and December of 2023.

Of these respondents, 64% were men, 32% were women and 6% were gender expansive, with this segment indicating that they identify as nonbinary, agender, transgender or other. One-on-one interviews were also conducted with women and gender expansive creators in the U.S., South Africa, France, Mexico, and India.

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Among the key findings, the survey found that — despite some recently documented gains for women in music creation and representation — women and gender expansive people are far more likely than men to experience the music industry as “generally discriminative” based on gender, with 49% of women and 41% of gender expansive individuals expressing this belief, compared to only 16% of men.

Age plays a factor in regard to this finding, with Gen Z less likely to perceive gender discrimination than older generations. 31% of 16-24-yea- old women view the industry as generally discriminative based on gender, compared to 54% of 25-34 year olds and 42% of women 55 and older. The report notes that this finding “could reflect improving conditions” but could also be a function of younger women not yet being in the industry long enough to experience discrimination.

The study also found that three in five women in music have experienced sexual harassment, and that one in five have experienced sexual assault.

More than 70% of women who have these experiences do not report them, the study says, “due to fear of retaliation and not believing anything would change being the most common reasons.” The study also notes that 53% of men who witnessed sexual harassment and/or assault did not report it, with 37% of these men saying that they “did not feel it was their place.”

Additionally, 56% of women who reported sexual assault responded that their claims were ignored or dismissed. The study found that nearly one-third were told to “keep quiet about it” while 12% were terminated from their job after reporting an incident.

As such, the study states, “the burden is on women to adapt their behavior to avoid misconduct, rather than on perpetrators and the wider industry to stop it happening in the first place.”

In terms of money, the study found that women and gender expansive people “are twice as likely as men to discover they are paid less than colleagues in the same or similar roles.” Identity compounds this issue, with 49% of women of a marginalized race or ethnicity having learned they’re paid less than colleagues. The study advises that the pay gap “is likely even more widespread than these statistics indicate, as individuals may be subjected to unequal pay without knowledge of it.”

There were more positive outcomes from the study as well. The report states that over the last two years, one-third of the people surveyed saw a decline in harassment. Nearly half say their confidence and self-motivation improved over that same timespan, and around a third said opportunities for career progression and promotion have improved. 28% said that diversity of staff has increased and 31% say recognition has increased.

Regarding the key factors in driving positive change, the women and gender expansive individuals surveyed reported that more diversity in positions of power, pay transparency and stronger enforcement are the most crucial factors in shifting the landscape. The study continues that “women and gender expansive individuals lack trust in industry executives to implement change, so many are being the change themselves.”

The report also explores topics like attitudes towards emerging technologies, finding the respondents feel “a mix of curiosity and unease” about the advancement of tech like AI. It also speaks to the challenges of algorithmic demands, saying that “social platforms are increasingly important for music distribution and marketing, which means catering to what algorithms prefer. This ironically limits diversity in presentation, even as it promotes diversity in substance. The pressure to package artists’ identities into palatable, bite-sized social clips can also be damaging. Spotlighting an artist’s age, sexuality, or gender identity in headlines, posts, and marketing strategies may drive engagement and inspire others, but can reproduce existing biases and stereotypes.”

The study also breaks down respondents by region — Asia Pacific, Europe, Middle East and Africa, Latin American and the Caribbean and North America — finding, among other things, that 65% of women in North America frequently experienced pressure to look good, “the highest of all the regions.”

08 Mar 2024

Melissa Etheridge Reflects On Early Career In ‘Gender Equity In Music Report’: ‘My Queerness Protected Me’

Today (March 8) is International Women’s Day, and to mark the occasion Tunecore has released its fourth annual Be The Change: Gender Equity In Music Report. Prepared by research firm Midia, the study offers key findings on progress and challenges around representation for women and nonbinary people in the industry.

Beyond the findings, the study incudes a forward from rock pioneer Melissa Etheridge, who reflects on the discrimination she has experienced and witnessed during her four decade career. She notes that while women have dominated the charts for decades, “typically white, male executives have profited from our labor.”

She also tracks some of the changes she’s seen during her long music career, noting that the industry has become more inclusive for women and gender expansive people since she started out in the ’80s, a time, she writes, when being gay protected her from some of the discrimination she saw straight women experiencing.

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She emphasizes how crucial it is to truly be the change one is hoping to affect, writing that “people are sometimes driven by their own misunderstanding and fear, so if you become the love you want to see, we hope they will feel that and change.”

Read Etheridge’s foreward in full:

It’s no secret that the music industry has historically been a boys’ club. There have been decades of music defined by incredible women dominating the charts, but behind the scenes women have often been pushed aside and prevented from reaching the same career heights while typically white, male executives have profited from our labor.

When I started in the business back in the ‘80s, the A&R reps who came out to see me were all men. There were very few women in the business, and this was the norm at the time.

In the late ‘80s, the industry started to change. There was finally a bit of interest in women artists’ music and experiences. In 1988, when I was finally signed and my album came out, women were starting to break through the industry wall. Tracy Chapman, k.d. lang, Toni Childs, and Sinéad O’Connor were writing and releasing songs, and people finally started paying attention and realizing we had something to say.

In music—as in life—being a woman comes with its own set of obstacles, both seen and unseen. Ranging from unequal pay and a diminished sense of autonomy to the countless cases of sexual harassment and abuse that have come to light in recent years from all corners of the industry. And, these obstacles are compounded for women of color and gender expansive individuals.

What was the hardest for me was also a blessing. I was lucky enough to find steady work in L.A.’s lesbian bars, so when I entered the music industry, it was already known that I was gay. It changed the way people responded to me. I didn’t experience the same sexual harassment as straight women did in the industry. Men stood back and didn’t know how to deal with me, so in a way, my queerness protected me.

To me, BE THE CHANGE means that when you try to spend your time and energy trying to change everyone else – that’s a rough road. The best change is to become what you want to see. You want to see more peace, more inclusiveness and understanding? Then you need to be more peaceful, inclusive, and understanding.

I’ve been around in the music industry for over 40 years now – long enough to see how far women and gender expansive musicians have come. It’s really important to give thanks for that so that this work doesn’t feel so impossible. It used to be that people were either straight or gay and now there’s a beautiful rainbow – a whole sphere of beings and ways of being, and it’s important to celebrate that. The best thing to do is not to make it an issue of us against them. People are sometimes driven by their own misunderstanding and fear, so if you become the love you want to see, we hope they will feel that and change.

The history of our industry does not have to be a vision of its future. Studies like BE THE CHANGE: Gender Equity In Music educate our peers and help close the perception gap through storytelling and provide actionable solutions to combat gender-based discrimination.

Through this, we can reshape the face of music. We can work together to create a more equitable, accessible, and inclusive industry, where people of all backgrounds, sexualities, abilities, and gender identities are granted the same opportunities for success. From the stage, to the studio, to the board room, we each have a part to play to make that vision a reality. It’s on all of us to take action to combat discrimination in all forms. Inclusivity is a necessary ingredient for our industry to thrive. We all have to BE THE CHANGE.

08 Mar 2024

Ariana Grande Gets Her Mind Wiped in Futuristic ‘We Can’t Be Friends (Wait For Your Love)’ Video

On the heels of dropping her eagerly anticipated Eternal Sunshine album, Ariana Grande also debuted the futuristic video for the collection’s new single, “We Can’t Be Friends (Wait For Your Love)” on Friday morning (March 8).

The singer teased the clip last week with an image from the waiting room in which she signs a consent form stating, “You have given extensive thought behind your decision and give ‘Brighter Days Inc.’ the exclusive permission to remove this person completely from your memory,” as her pen hovers over the box marked “No,” before the 30-year-old pop star opts for “Yes” at the last second and signing her name as “Peaches.”

That scene from the Christian Breslauer-directed visual is the opening act of a moody video that finds Grande — wearing a furry grey coat over a mini dress and knee-high boots and sporting some dramatic, tribal-like makeup around her left eye — sitting in the drab, wood-paneled lobby of the Brighter Days Inc. clinic awaiting an appointment with a doctor. When Peaches’ name is called, Grande grabs a white box filled with memories and enters a surgery arena, where she lays back on a chair as she begins to sing the ballad’s introspective lyrics.

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“I didn’t think you’d understand me/ How could you ever even try,” she sings as a nurse takes a stuffed bear out of the box and a screen shows the teddy’s brain scan. “I don’t want to tip-toe, but I don’t want to hide/ But I don’t want to feed this monstrous fire,” she continues over the song’s bubbling beat while being fitted with a silver headband with glowing red contacts on her temples.

The scene then jumps to a 1980s-style video game arcade as the tempo builds and Grande and a boyfriend pluck the bear from a claw machine and she promises to “wait for your love.” The heartbreak ballad about vowing to pretend until a love is rekindled is a travelogue of good times — including a shout-out to the final iconic birthday cake scene in 1984 coming-of-age classic Sixteen Candles — mixed with the present-day footage of Grande receiving the love-erasing procedure.

The storyline of the video — which ends with Grande blithely passing her old love and his new girlfriend while strolling with her new man — should come as no surprise given Grande’s avowed love of Jim Carrey’s similarly themed 2004 love removal machine sci-fi drama Eternal Sunshine of the Spotless Mind, which Grande tapped as an inspiration for the album’s title.

In that Michel Gondry-directed movie, Carrey and girlfriend Kate Winslet’s characters, Joel and Clementine, undergo brain surgery to wipe all the memories of their painful breakup. So, in the lead-up to the album’s release, Grande posted photos and videos in which she dressed up in outfits and hairstyles inspired by the film’s leading lady.

The midtempo track is the second single from Eternal Sunshine, following the January Billboard Hot 100 chart-topping hit “Yes, And?” Grande has previously said that she wouldn’t be issuing any more songs ahead of her seventh studio album’s release. Grande will be the musical guest on this weekend’s Saturday Night Live alongside Dune 2’s Josh Brolin.

Watch the “Wait For Your Love” video below.

08 Mar 2024

Taylor Swift Scores Her 13th No. 1 on Pop Airplay Chart With ‘Is It Over Now?’

Taylor Swift’s favorite number – 13 – now doubles as the amount of No. 1s that she has achieved on Billboard’s Pop Airplay chart. She tallies her record-extending 13th leader on the list as “Is It Over Now? (Taylor’s Version) [From the Vault]” ascends to the top of the March 16-dated ranking.

Following Swift, Maroon 5, Katy Perry and Rihanna each boast 11 Pop Airplay No. 1s.

Notably, the song, on Swift’s album 1989 (Taylor’s Version), on Republic Records, marks her first track that has topped a Billboard airplay chart from a “Taylor’s Version” album, among the four rerecorded sets that she has released so far.

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Here’s a recap of Swift’s 13 No. 1s on Pop Airplay, which measures songs’ weekly plays, as tabulated by Mediabase and provided to Billboard by Luminate, on over 150 U.S. mainstream top 40 radio stations. (The chart began in October 1992.)

Title, Weeks at No. 1, Year(s):

  • “Is It Over Now? (Taylor’s Version) [From the Vault],” one (to-date), 2024
  • “Cruel Summer,” 10, 2023
  • “Karma,” one, 2023
  • “Anti-Hero,” three, 2022-23
  • “Delicate,” one, 2018
  • “Look What You Made Me Do,” one, 2017
  • “Wildest Dreams,” two, 2015
  • “Bad Blood” (feat. Kendrick Lamar), five, 2015
  • “Style,” three, 2015
  • “Blank Space,” six, 2014-15
  • “Shake It Off,” two, 2014
  • “I Knew You Were Trouble.,” seven, 2013
  • “Love Story,” one, 2009

Swift, meanwhile, links her third consecutive Pop Airplay No. 1, as “Is It Over Now?” follows the rules of “Cruel Summer” and “Karma.” She notches her second streak of at least three straight leaders on the chart, after she reigned with the first five singles from 1989 in 2014-15: “Shake It Off,” “Blank Space,” “Style,” “Bad Blood” and “Wildest Dreams.”

1989 (Taylor’s Version) launched atop the Billboard 200 chart in November, becoming her 13th No. 1 album – the most among women. The same week, the song soared in at No. 1 on the all-genre, multimetric Billboard Hot 100, becoming her 11th and most recent leader.

Concurrently, the track takes over at No. 1 on Adult Pop Airplay (which reflects plays on adult top 40 stations). It becomes Swift’s 12th No. 1, the most among soloists and second overall only to Maroon 5’s 15 (dating to the chart’s March 1996 start in Billboard’s pages).

All charts dated March 16 will update on Billboard.com Tuesday, March 12.

08 Mar 2024

The American Museum Of Natural History To Host A Hip-Hop Jewelry Exhibit

HipHopWired Featured Video

American Museum of Natural History x Ice Cold x Slick Rick

Source: Janette Beckman / Courtesy of Fahey/Klein Gallery via AMNH

A new exhibition focusing on the role of jewelry in Hip-Hop culture and global culture overall will be hosted at the American Museum of Natural History.

An undeniable facet of Hip-Hop culture lies in the way that its stars have worn custom-made jewelry pieces. Now, the public will get to gain an appreciation of that up close as the American Museum of Natural History has announced that they will play host to a new exhibit on the topic. Ice Cold: An Exhibition of Hip-Hop Jewelry will open at the institution May 9.

The exhibit will be a continuation of New York City’s celebration of the 50th anniversary of Hip-Hop and gains its inspiration from the recent book of the same name released by the German publisher, Taschen. Ice Cold: An Exhibition of Hip-Hop Jewelry will be housed in the Melissa and Keith Meister Gallery in the Museum’s Allison and Roberto Mignone Halls of Gems and Minerals.

The exhibition will feature such items as the gold “Jesus piece” worn by The Notorious B.I.G., the diamond-studded Roc-A-Fella medallion inspired by the label co-founded by Jay-Z, Slick Rick’s noted crown encrusted with gems, and Nicki Minaj’s unique diamond “Barbie” pendant among numerous other pieces. Visitors can check out the exhibit with general admission to the museum.

“Ice Cold will truly spark a sense of excitement and curiosity into our world of jewelry and baubles as an extended form of hip-hop culture which has inspired the global stage as an extension of our art,” said Hip-Hop icon and Ice Cold senior advisor Slick Rick in a statement. “This collaboration with the American Museum of Natural History is a harmonious blend of creativity and cultural significance. I’m very honored to be a part of creating a unique and immersive experience for the Museum’s visitors in such a renowned space in the mecca of New York City.”

The advisory board also includes Roc Nation executive curator Lenny S. Santiago, Pete Nice, television host Bevy Smith, and author Tanisha Ford.

“Jewelry is a cornerstone of hip-hop culture and you can see the evolution of jewelry alongside the rise of hip-hop itself,” said Ice Cold guest curator (and author of the Taschen book), Vikki Tobak. “From being a culture formed in communities and neighborhoods, and then stepping into its power and starting to impact global pop culture, hip-hop, and its jewelry tell a bigger story.”

08 Mar 2024

Executive Turntable: ‘Taboo’ Violinist Joins Havas; Warner Chappell’s China Lead; Tunedly Turns Up New CEO

It’s time for another spindle around the Executive Turntable, Billboard’s comprehensive(ish) compendium of promotions, hirings, exits and firings — and all things in between — across music.

Global advertising and communications company Havas appointed Damien Escobar as its first-ever global chief music officer, effective immediately. Based in New York City, Escobar’s role is to provide insights into strategy and production in support of brands looking to enhance their storytelling with music. His agency experience includes serving as svp of music and culture at Havas unit Arnold Worldwide, though Escobar is perhaps best known in music circles as an accomplished — and chart-topping — violinist. Just last year, his song “Taboo” spent two weeks at No. 1 on Billboard’s Smooth Jazz Airplay chart, and he scored a No. 1 on both Classical Albums and Classical Crossover Albums charts with 2017’s Boundless. Escobar’s pre-solo group Nuttin’ But Stringz placed third in the 2008 season of America’s Got Talent and the “hip-hop violinist” and former child prodigy was later profiled on NBC’s TODAY show. At his new gig, Escobar reports to Donna Murphy, global CEO of Havas Creative Network and Havas Health & You.

“Damien is a creative and innovative force in the industry—and we’ve seen how his multifaceted talents have already shaped and elevated campaigns for some of our biggest brands,” said Murphy. “He is at the heart of contextualizing the sound with the visuals; amplifying the story the brand wants to tell through music. This role will allow him to help continue creating these stories for all our Havas clients.”

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Meanwhile…

Warner Chappell Music appointed Lisa Li as managing director of China. Based in Beijing and reporting to Arica Ng, president of Asia Pacific, Li will be responsible for leading all of WCM’s operations in China, while also collaborating with other teams across Asia to strengthen the Warner brand in the region. Having Li’s back will be Mar Ma, who has been appointed director of A&R at the publisher. Prior to joining WCM, Li served as head of business development at Warner Bros. Discovery in China. She’s also held senior roles at HBO China, Disney Interactive and others. Ma’s CV includes a decade of experience that includes stops at both Warner Music China and Universal Music Publishing China. “Lisa’s strategic mindset, leadership skills, and passion for the entertainment industry make her the ideal person to capitalize on the tremendous growth opportunities in China,” said Ng.

UMG Nashville named David Friedman to the newly-created role of vp of national promotion and strategy. Friedman oversees all strategic elements of UMG Nashville’s promotion operation. Friedman most recently led the MCA Nashville promotion team. “Over the past year, the UMGN promotion department has evolved, and having someone with David’s vast experience running point on our overall radio strategy makes the department stronger,” UMG Nashville evp/COO Mike Harris said in a statement. “Having his expertise at the center is a natural fit, and I’m really excited for David and to see where he can take this new role.” –Jessica Nicholson

Warner Records promoted Josh Reich to senior vp of Top 40 promotion. The Chicago-based radio veteran, who reports to evp of promotion and commerce Mike Chester, will lead the label’s pop promotion department in efforts to promote Warner singles across 170 pop radio reporters. Reich has been with Warner since 2011 and was most recently vp of Top 40 promotion & digital strategy. He had past stops at WXRT/Chicago, A&M Records and RCA Records. “Josh is a well respected promotion executive who brings outstanding depth and knowledge to his position. “[Reich’s] reputation and results are first-class, matched only by his ability to close,” said Chester. “He truly embodies our culture of artist development and I’m thrilled to have him leading our pop efforts at this exciting time in our label’s history.”

Online recording studio and music publishing platform Tunedly made two major changes at the top. Co-founders Chris Erhardt and Mylene Besancon are no longer chief executive officer and chief creative officer, respectively, replaced with Ben Jackson and Katja Glieson in the key roles. “This change at the top promises to inject new energy into Tunedly, leveraging Jackson’s extensive industry experience and Glieson’s creative prowess to drive the platform forward,” the company said. Launched in 2015, Tunedly connects songwriters and other music creators with session musicians for professional music production and music publishing services. Jackson is a music producer with “deep industry knowledge” while Glieson comes bearing a track record of success as a social media content creator. While no longer CEO, Erhardt will remain a member of the board and focus on launching TunedCoin. Besancon, meanwhile, has already taken the reins as CEO of song personalization platform Bring My Song To Life.

Photo Credit: Quadir Thomas

Dina Marto joined UTA as an executive in the global agency’s music division. She is based in Atlanta and will report directly to partner and co-head of UTA Atlanta Rob Gibbs. Prior to UTA, Marto founded and ran Twelve Music & Studios, where her client list over the course of a decade included Theron Thomas and Polow Da Don, as well as labels including Atlantic Records and Maybach Music Group. She also previously worked with L.A. Reid at Island Def Jam, where she A&R’d albums by the likes of Young Jeezy, Nas, Rick Ross, Janet Jackson, LL Cool J and more. She also co-founded C & D The Agency in 2020, a women-led marketing agency dedicated to empowering minority women. Gibbs commented that Marto’s “deep connections in the city’s music scene will undoubtedly open doors and create new opportunities for our clients.”

The Grand Ole Opry promoted three executives in its ranks. Nicole Judd has been elevated to associate producer, show development, contributing to the development/production of all Opry shows in addition to serving as a programming liaison for various internal and external teams. Judd has been with the company 17 years, most recently serving as Opry marketing manager. Gina Keltner has been promoted to associate producer, talent. Keltner, who marks her 25th year with the Opry, will book more than 200 Opry shows per year, as well as other events and initiatives. Audrey McGrady, who has been with the Opry since 2017, has been promoted to talent manager, managing all talent-related show advancement for Opry shows and contributing to various aspects of show production and programming strategy with the Opry programming and artist relations team. –Jessica Nicholson

Nettwerk Music Group welcomed Talia Rubino as vp of global sync, a role where she’ll spearhead creative strategies to maximize sync opportunities for Nettwerk artists, writers and labels. Rubino has racked up 16 years of experience in sync licensing, first with Warner Music on the label side before a highly accomplished 10-yeare run in publishing at Warner Chappell Music. “Her extensive experience in artist development and facilitating licensing opportunities makes her an invaluable asset to our leadership team,” noted Nettwerk president and COO Simon Mortimer-Lamb. “Nettwerk’s ethos is artist-first, career forward, and Talia’s skills align perfectly with that promise.”

Diversified Production Services, the live entertainment event producer behind such shows as the Global Citizens Festival, iHeartRadio Music Festival and the Roots Picnic, hired live events veteran Darren Pfeffer as president. The New York City-based exec is coming off more than six years at MSG Entertainment, where he rose to evp of MSG Live. Prior to that, put in a mere 21 years at iHearMedia, where as svp of music and entertainment marketing he led the company’s live entertainment division. According to RAMP, DPS also announced that co-CEO Dave Meyers will transition to a senior advisor role at the company.

NASHVILLE NOTES: Go West Creative promoted Eileen Valois (pictured) to president and CEO of the full-service creative and events agency. Valois joined GWC three years ago as president and chief operating officer following a lengthy and accomplished career in experiential brand building being an all-around “intuitive disruptor,” the company said. Congratulate her at eileen@gwcg.com … SMACKSongs promoted Carly Sater to creative manager. Sater joined the company in 2019. Her day-to-day responsibilities include signing and developing songwriters, booking writing sessions and creating opportunities for writers … Boutique artist services label Twelve6 Entertainment promoted Travis Myatt to president and general manager, and also elevated Willow Belenski to project manager and Alaina Maggart to the new role of creative manager, Twelve6 Publishing … Black River Entertainment svp of promotion Mike Wilson has left the company after more than a decade, telling Music Row “it’s now time to move on to a new challenge.”

Position Music added industry veteran Jay Moore to its executive team as vice president and head of investments, reporting to president and CEO Tyler Bacon out of Position’s Los Angeles offices. As vp and hoi, Moore will lend an analytic hand around label and publishing signings and catalog acquisitions. Prior to joining Position, Moore was chief investment officer at Ditto Music. He has also worked in a senior director capacity at Kobalt Music. “The ability to quickly analyze and price deals is a crucial piece of ultimately closing them,” said Bacon. “We are immediately seeing the benefit of his work in the current pipeline, along with the work he did on our recent Gesaffelstein acquisition.”

The Syndicate scooped up BMG veteran Alina Akhmadullina as director of label services in its quickly-expanding label services/project management department. The year-old division already works closely with Round Hill Records, Rhino, Loosegroove Records, Dine Alone and Vydia, among others. At BMG, Akhmadullina rose to senior marketing manager during a five-year stretch in which she worked on campaigns for Slash, Billy Idol, Karen O, Godsmack, Hollywood Undead and Run The Jewels. “Alina brings a depth of knowledge, unparalleled enthusiasm, and a loaded range of skills to The Syndicate,” said Rob Gross, svp of label services. “As we build out the Label Services/Project Management division and offerings, Alina will be a pivotal force behind our upward build and growth.” The LA-based Akhmadullina can be reached alina@thesyn.com.

740 Project, the marketing firm and record label fresh off wins for its work with Killer Mike and Ye, elevated Nancy Liu to partner and Jacolyn Carrasco to vp of marketing. Liu has spent the past two years as president of the marketing firm and, as partner, joins co-founders Jesse “Punch” Edwards, Rahim Wright and Charley Greenberg with that title. 740 is fast approaching its 10th year and currently boasts a tight relationship with Quality Control artists Lil Baby, Migos and Lil Yachty, as well as Megan Thee Stallion, J Balvin and Travis Scott.

RADIO, RADIO: MCA Nashville elevated UMG veteran Miranda McDonald to vp of promotion, leading all radio initiative for the label’s roster. She arrives from UMG Nashville, where she was vp of national promotion and worked across multiple teams, including at MCA, Capitol and Mercury … Shari Roth joined Big Loud Records as vp of multi-format radio, effective immediately. She most recently served as national director of radio accounts at Warner Music Nashville for eight years … Speaking of, Warner Music Nashville expanded senior vp of radio Kristen Williams’ role, making her vp of radio and commercial partnerships.

Tixr appointed Stéphane McGarry to the role of vp of partnerships and country manager as the ticketing platform looks to expand its “already robust roster of partners” across Canada. McGarry arrives from AudienceView, where he was vp of sales. Prior to that, he was Crowtorch’s president of Canadian operations. Tixr already has a robust portfolio in the Great White North, including deals with Sonic Concerts, Cowboys Music Festival, Game Con Canada and more. Robert Davari, co-founder and CEO of Tixr, said McGarry has “consistently added value to every organization he’s touched, and collaborating with him has been on my agenda for years.”

BOARD SHORTS: Music tech platform Hook announced its inaugural group of outside advisors: DJ/producer KSHMR; SNAP head of music partnerships Manny Adler; venture capitalist Abe Burns; Downtown Music Holdings founder & chairman Justin Kalifowitz; Hundred Days founder & co-president Ben Klein; and Reed Smith managing partner Gregor Pryor … SOLID, aka the Society of Leaders in Development, announced its 2024 board of directors, led by president Rio Van Risseghem (The Orchard), vp Zach Green (Green P&M), secretary Melissa Flaxman (Black Box) and treasurer Lizzy Stone (Wiles + Taylor & Co). See a full list here.

ICYMI:

Willie Prophet Stiggers

Steve Berman is vice chairman, Annie Lee is COO and Geoff Harris is CFO at the newly conjured Interscope Capitol Labels Group, encompassing Interscope, Geffen, A&M, Capitol, Blue Note, Priority, Verve and Motown … The Ivors Academy named Roberto Neri as its new CEO … Black Music Action Coalition co-founder Willie “Prophet” Stiggers (pictured) joined the founders board of the Neil Lasher Music Fund at Caron Treatment Centers … and Capitol Music Group co-president Arjun Pulijal stepped down after 11 years at the company.
Last Week’s Turntable: Luminate Focuses on Indie Retail

08 Mar 2024

Governor Kathy Hochul To Deploy National Guard In New York City Subway Stations

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National guard and extra officers deployed to NYC Subways

Source: Anadolu / Getty

New York City has been struggling with rising crime rates for a few years now, and though the rate has been dropping across the city in recent months, crime inside the subway system has still proven to be problematic.

Looking to tackle the growing problem, Governor Kathy Hochul has decided to take things up a notch and is now deploying the National Guard to patrol New York City subways to help curb criminal activity.

According to Raw Story, Governor Hochul announced Wednesday (March 6), that she has called on the National Guard to provide 750 troops to help the NYPD maintain peace and order in the crime-ridden subway system throughout the five boroughs of New York City along with 1,000 members of state personnel. Just last week, a train conductor was inexplicably slashed on his neck when he peaked out the window of his train car to check the platform. That act might’ve been the straw that broke the camel’s back.

Naturally, many New Yorkers took issue with the decision as it will have New Yorkers feeling like they’re living in a police state (in the subway at least), but the outcry doesn’t seem like it’ll have Hochul backtracking anytime soon.

Per Raw Story:

“The service members of the New York National Guard are always ready to assist our partners as they ensure the safety and security of our fellow citizens,” said the force’s commander Major General Ray Shields in Hochul’s statement.

Hochul, who is responsible for the state-run authority that runs New York City public transit, highlighted the weekend case of a man kicked onto the tracks at New York’s busy intercity Penn railway station.

“Three people rushed to save him, pull him back into safety,” she said in a briefing. “These brazen, heinous attacks on our subway system will not be tolerated. People worry they could be next, anxiety takes hold. (Passengers) shouldn’t worry the person sitting next to them is carrying a knife… that’s what we’re going to do with these checkpoints.”

People will be randomly chosen for bag checks in subway stations and violent passengers will even be banned via a new program. How they’ll go about enforcing that ban is anyone’s guess. Will they use face recognition technology or something? Should be interesting to see how that plays out.

No word on how long this new extreme measure will last but this has the potential to end badly as New Yorkers are known for their “f*ck off” attitudes.

Be safe out there, y’all.

What do y’all think of Kathy Hochul’s decision to deploy the National Guard in the New York City subway system? Let us know in the comments section below.