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Want a Daytime Emmy in a Music Category? The Academy Has Some Tasks for You

The National Academy of Television Arts & Sciences announced some rule changes on Thursday (Feb. 1), which include requiring potential nominees in music categories to supply more information.

“For categories identified as music categories (these are music direction and composition and original song in the Daytime Emmys), nominees will be REQUIRED to provide complete publishing information and sign an additional NATAS-issued licensing agreement allowing NATAS to use the music featured in the ceremony clip(s),” the Academy said in a statement. “The information will be distributed to nominees only. Failure to provide adequate information AND proper contact information for a legally authorized signer will result in a different clip being selected or replacement of the music with rights-cleared music at NATAS’ discretion.”

The emphasis on the words “required” and “and” was in the original directive from the Academy.

At the 2023 Daytime Emmys Creative Arts Ceremony in December, Jennifer Nettles and Bill Sherman won outstanding original song for “Life Is Sweet” from American Anthems (PBS). A platoon of 10 composers won outstanding music direction and composition for Home (Apple TV+).

Just being considered for a Daytime Emmy isn’t cheap. Entry fees for program categories are $425 with a late fee of $500. Entry fees for performer, host and craft categories are $350 with a late fee of $400.

Here’s the timeline for the 51st annual Daytime Emmys:

  • Feb. 1 – Open for submissions/judging sign-ups
  • Feb. 22 – Entry deadline
  • March 7 – Late entry deadline
  • March 21-April 11 – Judging for all entries
  • Week of April 15 – Nominations announced

Victoria Monét & Good American Celebrate Feminine Power in New Campaign: Shop the Looks Here

All products and services featured are independently chosen by editors. However, Billboard may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes.

Victoria Monét is expressing her feminine power through a new campaign with Khloe Kardashian and Emma Grede’s clothing brand Good American.

The “On My Mama” singer is taking the spotlight for the brand’s spring ’24 collection, which features a mix of denim-on-denim, faux leather and even swimwear to get your ready for warmer weather. Each style can be mixed and matched, whether you’re looking to top off your jeans, pleated skirts or need a chic oversized leather jacket to complete your going out ‘fits. Also included are a mix of knee-high boots to match to the latest denim trends or bestselling leather collection.

As a women-founded brand, it was especially important to collaborate with a woman who radiated strength and talent.

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“We couldn’t be more proud to feature Victoria Monét as the face of our Spring ‘24 campaign,” said Grede, the co-founder and CEO of Good American, in a press release. “We have always prioritized uplifting and supporting women achieving extraordinary things, and Victoria’s incredible talent deserves all the accolades. She epitomizes the strength and resilience that our brand proudly represents, so we couldn’t wait to give her the spotlight she undeniably deserves.”

The first round of the collection dropped on Thursday (Feb. 1) with more styles expected to be released within the coming weeks.

Keep reading to shop a few of the Monét-approved looks from the campaign below or view everything that’s available here.

Good American

Denim Light Compression Tube Top

Slip on a denim tube top that’ll complete your denim-on-denim outfit, or pair it with a leather skirt for some elevated material mixing. The top is designed with light compression to create a smoother appearance without making you feel restricted.

Good American

Good ’90s Relaxed Jeans

Refresh your denim rotation with a pair of ’90s-inspired jeans. This pair has a looser and more relaxed fit in the legs, and uses a gap-proof waistband to help keep your pants resting on your hips.

Good American

Oversized Faux Leather Moto Jacket

Brighten your jacket collection with this white oversized moto jacket that’s designed with faux leather for a smooth yet sleek look. The design also features a variety of pockets to store small essentials, as well as an adjustable belt on the bottom to customize the fit.

For more product recommendations, check out our roundups of the best platform boots, teddy coats and SKIMS dupes.

5 Recording Academy Trustees Are 2024 Grammy Nominees

Five people are headed to the 2024 Grammy Awards on Sunday (Feb. 4) as both current nominees and trustees of the Recording Academy. One of them, Michael Romanowski, has a stunning four of the five nominations for best immersive audio album.

Romanowski served as the immersive mastering engineer on Ryan Ulyate’s Act 3 (Immersive Edition), George Strait’s Blue Clear Sky, Alicia Keys’ The Diary of Alicia Keys and Bear McCreary’s God of War Ragnarök (Original Soundtrack). Romanowski has won four Grammys since 2021, including two in this category.

The other four people who will attending the Grammys both as trustees and current nominees are Chuck Ainlay, J. Ivy, PJ Morton and Marcus Baylor.

Ainlay is nominated alongside Romanowski for best immersive audio album for this edition of Strait’s 1996 album Blue Clear Sky. Ainlay served as immersive mix engineer and immersive producer to Romanowski’s immersive mastering engineer. Ainlay has won four Grammys since 2006, including one when this category was known as best surround sound album.

Ivy is nominated for best spoken word poetry album for The Light Inside. Ivy won in that category last year – the first year it was presented – for The Poet Who Sat by the Door. Ivy won a second Grammy last year for best roots gospel album for The Urban Hymnal.

Morton is nominated for best traditional R&B performance for “Good Morning” (featuring Susan Carol). Morton has won four Grammys since 2019, including one in this category.

Baylor is nominated for best jazz performance for his featured role on Adam Blackstone’s “Vulnerable (Live).” The track features The Baylor Project & Russell Ferranté. Baylor has received 10 nominations since 2003, but has yet to win.

The Academy wants to have people on its board of trustees who are current, active and successful in their careers. But their nominations, while they are serving as trustees, raise a question of whether being a current trustee gives them an unfair advantage in the voting.

Billboard has reached out to the Academy for comment.

The current 41-member board of trustees (counting four officers) includes six other people who are past Grammy winners, but are not nominated this year. They are EGOT recipient John Legend, who has amassed 12 Grammys since 2006; Angélique Kidjo (five Grammys since 2008), Yolanda Adams (four Grammys since 2000), Natalia Ramirez (three Grammys since 2020), Jonathan Yip (two Grammys in 2018) and Ledisi (one Grammy in 2021).

Other current trustees who have been nominated in years past (but did not win) are Terry Jones, Mike Knobloch, Paul Wall and Thom “TK” Kidd.

Lucian Grainge Presents Boygenius With Billboard Power 100 Award, Says He’s ‘Thrilled’ Coming 2nd to Taylor Swift

Boygenius received the Universal Music Group x REVERB Amplifier Award at the Billboard Power 100 event in Los Angeles on Wednesday night (Jan. 31).

The group, signed to Interscope, was presented with the honor by Universal Music Group chairman/CEO Lucian Grainge, who began his speech by praising Republic Records megastar Taylor Swift, who dethroned him at the top of the Power 100 list this year.

“Let me say that I’ve never, ever, in my entire career been so thrilled to be No. 2 on a list,” he said at the event, which was held at NeueHouse Hollywood. “I suppose I’m honored as well as a bit relieved to be named No. 2. Many, many, many congratulations, Taylor, on your No. 1 award. You thoroughly deserve it. You are completely unique, and to see the heights that you have gone to worldwide with your voice has given all of us who know you and work with you enormous pleasure and enormous pride.”

During his brief time on stage, Grainge made no direct mention of the elephant in the room: The music giant’s industry-shaking decision to pull its music from TikTok after licensing renewal talks between the two companies collapsed. But he did appear to make a subtle nod to the dispute, which involves, in large part, disagreements over both artist compensation and artificial intelligence.

“I also wanted to be here tonight … to highlight the importance of using this room for collective good,” Grainge said. “There’s an enormous amount of power in this room, that’s why it’s called the Power awards. And I feel extremely strongly and grateful that we’re in an industry that has provided us with such pleasure, such joy and a living. But we have the platform to be able to use it for our artists, to fight for them to be fairly compensated, as well as protected, particularly against unethical A.I.”

While introducing Boygenius — the trio composed of Julien Baker, Phoebe Bridgers and Lucy Dacus, who are up for a whopping five Grammys this year, including album of the year — Grainge said its members “exemplify what it means to use power for good” before ceding the mic.

The first of the trio to speak was Dacus, who opened by shouting out Pass the Mic Foundation, the non-profit organization that organized land acknowledgements at each of the band’s recent tour stops. She proceeded to make a land acknowledgement from the stage, noting that Los Angeles County “occupies land originally and still inhabited and cared for by the Tongva, Tataviam, Serrano, Kizh and Chumash peoples.”

Dacus continued by recognizing Landback — a movement “to get Indigenous Lands back into Indigenous hands,” according to landback.org — as well as three other organizations the band worked with on its 2023 tour: Reverb, the Ally Coalition and Calling All Crows. All of them, she said, helped organize tabling at the group’s tour stops to educate fans “about local and national organizations that work to defend LGBTQ rights, abortion access and environmental concerns.”

When Baker stepped up to the podium, she said of receiving the award, “We realize it’s useful to publicly acknowledge and recommit ourselves to these values … in order to draw attention to causes we care about. But ultimately, this is a community effort. It should be important to everyone, because it’s important for everyone’s individual well-being. This is not a task for those with more power to participate in, that those with less may not participate in. The perceived scale of a person’s impact doesn’t increase or diminish your individual responsibility to act each day in a way that protects and proves or makes more equitable the world we inhabit together.”

Lastly, Bridgers acknowledged all three band members’ history of being “made to feel uncomfortable or unsafe in concerts when we were kids or in work environments later when we started making music ourselves.” She also shouted out Calling All Crows, which she said did “a demonstration for us and our tour about how to spot and stop sexual harassment or sexual violence, whether you see it in a crowd or on your own crew.”

Bridgers also mentioned, as she has previously, that she had an abortion while she was on tour in 2021 before noting that the band worked “with local organizations who make sure that other people get easy, safe access to abortion” on its 2023 tour. She concluded: “We like to create a show environment that we would have benefited from as kids. But hopefully someday, everybody’s doing it, and nobody’s getting awards.”

Monte & Avery Lipman Thank Taylor Swift for Taking Republic ‘Into Uncharted Waters’ at Billboard Power 100

Republic Records‘ CEO and COO Monte and Avery Lipman accepted the award for the label of the year at Billboard‘s Power 100 event last night (Jan. 31) in Los Angeles.

The award was presented by Noah Kahan, who recalled being signed to the label nine years ago when he was, he recalled, “a kid with one song out and whose biggest performance to date was at a local gelato shop.”

Kahan, who’s since clocked six Billboard Hot 100 hits, is just one of the many success stories that earned Republic Records the top label award for 2024, with Republic also delivering chart-topping albums from Morgan Wallen, Drake, Nicki Minaj and Post Malone, as well as a best new artist Grammy nomination for Kahan, who is signed to the label’s Mercury Records imprint.

And of course, there was Taylor Swift, whose 18.9 million equivalent album units in 2023 accounted for 1.7% of the entire U.S. recorded music industry.

CEO Monte Lipman thanked Swift during his speech, saying that “Taylor Swift I’ve been with for 15 years and I’m grateful; I’ve got so much gratitude in my heart that I’ve been allowed to hitch my wagon to her success for all these years. And she’s taken us into uncharted waters and everyday is an adventure, so thank you Taylor.”

Monte Lipman also addressed the packed room of industry leaders, saying, “Lastly, I wanted to mention is in this room, we are a fraternity, we are a sorority, and we pledge our allegiance to protecting the poets, the storytellers and the songwriters. What we all know is that the bedrock of every relationship with our artists is respect. And we don’t let anybody compromise that.”

The speech was met with applause and cheering during the party celebrating Billboard‘s 2024 Power 100 List, which is topped by Swift.

Billboard Explains: Harry Styles’ Solo Chart History

Remember when Harry Styles was just one of five young men randomly assemble to become arguably the most successful boy band of the 2010s? Over a decade removed from his X Factor UK days, Styles has grown into one of pop music’s most formidable hitmakers across the Billboard charts.

The “Treat People With Kindness” singer first appeared on the Billboard charts as a member of One Direction alongside bandmates Zayn, Niall Horan, Liam Payne and Louis Tomlinson. During its run, the boy band earned four No. 1 albums on the Billboard 200 and six top 10 hits on the Billboard Hot 100, including “What Makes You Beautiful” (No. 4) and “Best Song Ever” (No. 2).

In 2017, Styles embarked on his solo career with an eponymous album that debuted at No. 1 on the Billboard 200. Harry Styles gave way to two more No. 1 albums — 2019’s Fine Line and 2022’s Harry’s House — earning Styles the impressive distinction of launching each of his studio albums atop the chart.

On the Hot 100, the Grammy-winner has scored seven top 10 hits, including the No. 1 singles “Watermelon Sugar” — which won the Grammy for best pop solo performance in 2021 — and “As It Was.” Serving as the lead single from Harry’s House, “As It Was” became one of only five songs to spend at least 15 weeks atop the Hot 100. The track landed at No. 2 on the 2022 Year-End Hot 100, and its success was so massive that the song ranked at No. 15 on the 2023 Year-End Hot 100.

“As It Was” also holds a pair of monumental radio records. The song spent a whopping 63 weeks on Pop Airplay, good enough to rank behind Rema and Selena Gomez‘s “Calm Down” as the song with the second-most weeks on the chart. According to Luminate, “As It Was” also ended 2022 as the most heard song on U.S. radio, garnering over three billion audience impressions.

Check out the full Billboard Explains video on Harry Styles’ chart success above.

After that video, catch up on more Billboard Explains videos and learn about Peso Pluma and the Mexican music boomthe role record labels playorigins of hip-hop, how Beyoncé arrived at Renaissance, the evolution of girl groupsBBMAsNFTsSXSW, the magic of boy bandsAmerican Music Awards, the Billboard Latin Music Awards, the Hot 100 charthow R&B/hip-hop became the biggest genre in the U.S.how festivals book their lineupsBillie Eilish’s formula for success, the history of rap battlesnonbinary awareness in musicthe Billboard Music Awardsthe Free Britney movementrise of K-pop in the U.S.why Taylor Swift is re-recording her first six albumsthe boom of hit all-female collaborationshow Grammy nominees and winners are chosenwhy songwriters are selling their publishing catalogshow the Super Bowl halftime show is booked and more.

Universal Music Group Announces Label Restructure, With Monte Lipman and John Janick as Leaders

The Universal Music Group announced a massive restructuring of its record label operations Thursday (Feb. 1), reorganizing its web of frontline labels to align them under two main companies, in Republic Records and Interscope Records. The move, which can loosely be termed an East Coast (Republic) and West Coast (Interscope) realignment, means that Interscope’s John Janick and Republic’s Monte Lipman will be leading U.S. label operations for UMG.

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As part of the move, the other U.S. label heads will now report through to Janick and Lipman, a source confirms. In the new alignment, Janick will now oversee Interscope, Geffen, Capitol, Motown, Priority, Verve and Blue Note, while Lipman will oversee Republic, Def Jam, Island and Mercury.

UMG chairman/CEO Lucian Grainge announced the move today in a memo to staff, in which he acknowledged that Republic and Interscope have been the two market leaders in current market share in recent years; in 2023, Republic claimed 13.47% of the U.S. market, while Interscope was second, at 8.80%.

“As our labels continue to maintain their creative A&R and marketing independence, unique identities, and entrepreneurial spirit, they’ll also be provided with access to the talent and resources best able to support their rosters and bring them to new levels of success,” Grainge wrote in the memo, obtained by Billboard. “It’s a proven model we pioneered on the East Coast several years ago — one that we will accelerate and expand.

“As this model takes shape and spurs new creativity, our U.S. recorded music business will continue to outperform and outgrow our competition,” Grainge continued. “Led by the industry’s best creative visionaries — we will cultivate more repertoire sources, we will invest more in new artists and emerging genres, and UMG will become an even more attractive destination for the world’s most gifted artists.”

The move comes after weeks of speculation about layoffs and restructuring at the company, and while no other moves were announced Thursday, layoffs are still expected, according to many sources. In his memo, Grainge said that “In the coming weeks, John and Monte will be making further announcements about structure, resources and next-generation partnerships. These and other developments will also power some of the other initiatives I outlined in my New Year’s note, including super-fan and audience monetization, state-of-the-art D2C, e-commerce, branding and more.”

Universal has restructured its label network in the past, generally during times of big change in the music business. In 1999, at the formation of what is now the Universal Music Group, the company structured its label operations into Island Def Jam, Universal Motown Republic, Verve Label Group and Interscope Geffen A&M. In 2012, UMG purchased EMI Music’s recorded music operations, bringing Capitol Records, Blue Note and others under its purview, forming the Capitol Music Group. Then in 2014, UMG unwound its East Coast operations to make Def Jam, Island and Motown all standalone labels; in subsequent years, Motown would be moved under the Capitol Music Group umbrella, while Island would begin sharing services with Republic. This new reorganization combines several of those labels under a streamlined structure once again.

“The competition within our own company in signing and developing artists is no accident. It’s by design,” Grainge wrote in his memo. “By creating a home for a variety of independent and competitive creative centers and the leaders that run them, we increase opportunities for growth and success.

“At the same time, our culture never lets our ‘in-house’ competition become destructive; our executives never forget that we are all part of the same UMG team. John and Monte consistently share strategies for success with our labels in the U.S. and around the world, strategies that benefit artists signed to all our labels, not just those on Republic and IGA.”

UMG Responds to TikTok, Calling Its Views on Artist and Writer Compensation ‘Woefully Outdated’

With Universal Music Group‘s catalog now being slowly removed from TikTok, the music company issued a new statement Thursday (Feb. 1) commenting on what it says are TikTok’s “woefully outdated” views on music licensing and compensation.

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The stalemate between the world’s largest music company and the short-form video app was made public Tuesday when UMG released a strongly worded open letter to its artists and songwriters, explaining that all of their music would be removed from the platform if a licensing agreement was not reached by the following day. In the letter, UMG detailed its reasons for not being able to reach an agreement, including disagreements about compensation, artificial intelligence, infringing works on the platform, and harassment.

TikTok replied within hours, calling UMG’s letter a “false narrative” and that it was “sad and disappointing that [UMG] has put their own greed above the interests of their artists and songwriters.” It noted that TikTok acts as an important “free promotion” and “discovery” tool for their artists.

Perhaps even further away from a deal than before, the licensing agreement expired on Jan. 31, and UMG’s catalog began disappearing from TikTok.

Read UMG’s latest statement in reply to TikTok below:

“Our agreements with TikTok have expired because of TikTok’s unwillingness to appropriately compensate artists and songwriters, protect human artists from the harmful effects of AI, and address online safety issues for TikTok’s users (more on that here),” says a spokesperson of UMG.

“In fact, TikTok’s own statement perfectly sums up its woefully outdated view: Even though TikTok (formerly Musical.ly) has built one of the world’s largest and most valuable social media platforms off the backs of artists and songwriters, TikTok still argues that artists should be grateful for the “free promotion” and that music companies are “greedy” for expecting them to simply compensate artists and songwriters appropriately, and on similar levels as other social media platforms currently do.

TikTok didn’t even attempt to address the other issues we raised regarding harmful AI and platform safety. It’s no surprise that artist rights advocates are speaking out in support of our action.”

Britney Spears Seemingly Responds to Justin Timberlake’s Shady Remark at NYC Show

For Britney Spears, what goes around comes all the way back around.

The pop princess took to Instagram on Thursday (Feb. 1) to seemingly respond to her ex-boyfriend Justin Timberlake, who reportedly took a shot at her during his “One Night Only” birthday concert at Irving Plaza in New York City on Wednesday night.

“Someone told me someone was talking s— about me on the streets,” Spears wrote alongside a photo of a basketball hoop, with a full moon replacing the basketball. “Do you want to bring it to the court or will you go home crying to your mom like you did last time ??? I’m not sorry !!!”

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Spears’ comments seem to be in response to a remark JT made before performing “Cry Me a River,” a song widely believed to be about his split from the “Piece of Me” singer. “I’d like to take this opportunity to apologize to absolutely f—ing nobody,” he told the audience before performing the hit, according to Page Six.

Timberlake’s biting remark comes just days after Spears seemed to apologize for calling him out in her memoir, The Woman in Me, and praised his new single, “Selfish.”  “I wanna apologize for some of the things I wrote about in my book. If I offended any of the people I genuinely care about I am deeply sorry,” Spears wrote in a since deleted post without naming names, before adding, “I am so in love with Justin Timberlake’s new song ‘Selfish.’ It is soo good and how come every time I see Justin and Jimmy together I laugh so hard ???”

While Spears did not elaborate on who she was apologizing to about the many headline-grabbing revelations in her best-selling memoir, one of the people who faced particularly harsh criticism after the book’s release last year was Timberlake, whom she dated from 1999 to 2002.

Usher Reveals He Almost Formed a Supergroup With Jay-Z, Pharrell & Diddy

Usher has opened up about how he nearly formed a supergroup with Jay-Z, Pharrell and Diddy.

The 45-year-old singer stopped by Shannon Sharpe’s Club Shay Shay podcast Wednesday (Jan. 31), where he made the revelation about the talented group that never was.

“Jay-Z, Pharrell, Diddy and me were supposed to be a group,” he said. “Yeah, that’s crazy. I didn’t say ‘No.’ I didn’t say ‘Yeah.’ I think that we just got caught up. I think we all got caught up in the moment.

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“We was talking about it and having secret meetings about it. We were talking about music and how we gon’ flip it and the business of it. And somehow, man, we just got distracted and it never happened.”

Usher added that this is one of his career’s biggest regrets along with turning down starring in 2006’s Dreamgirls: “That’s the one I actually wish would have happened.”

It’s a busy time for Usher, who will be performing at the Super Bowl LVIII Halftime Show in Las Vegas on Feb. 11 at Allegiant Stadium. To capitalize on the momentum of the Sin City SB performance, the “Yeah” hitmaker also has a new album on the way, titled Coming Home, which will arrive on Feb. 9, ahead of the big game.

Coming Home serves as Usher’s ninth studio album, and it’s a star-studded affair. Across the 20 tracks, he’s recruited Latto, Burna Boy, 21 Savage, The-Dream, H.E.R., Summer Walker and BTS’ Jung Kook to join him on the journey.

Watch Usher speak with Shannon Sharpe about the potential supergroup falling through the cracks below.