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The Chainsmokers’ Artist-in-Residence Program Will Cover a Year of Rent for an Emerging Artist in NYC

Before they were rich and famous and dwelling in mansions, The Chainsmokers were just two dudes trying to make it as musicians in New York City.

Understanding how hard it can be to keep the lights on in the city while producing new music, the duo is now co-sponsoring a new artist-in-residence program in New York City that aims to help an emerging artist focus on music while eschewing the stress of paying rent.

Being launched in collaboration with The Blumenfeld Group, The Chainsmokers’ own JAJA Tequila and creative agency NOISE, this artist-in-residence program will provide the winner with a free apartment equipped with a music studio at apartment building The Smile. Located in Harlem, it was designed by architect Bjarke Ingels and is named for its curved design.

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The 794-square-foot apartment unit was designed by The Chainsmokers themselves, and features dining, working, sleeping and living room spaces.

“We started our careers in New York City and our experiences living in the city really shaped us into who we are today,” The Chainsmokers tell Billboard in a joint statement. “The city is fun and inspiring, but we also know all too well how expensive it can be to live there, especially as a new artist.”

“For the longest time we worked out of a shoebox-sized apartment making music every day,” the pair continue. “We’re so excited to offer a talented artist the chance to thrive by providing a free apartment with a music studio at The Smile for a year.” 

The program is currently accepting applications, which require would-be winners to submit some basic information along with a TikTok. You can apply for it here.

“At NOISE we love working with clients who are willing to think outside the box. Especially those who are not only willing to push boundaries in their respective industries but also are excited to create culture-forward and impactful campaigns –– David [Blumenfeld] and the entire team at BDG are one of those clients,” says Joe Laresca, founder and CEO of NOISE and creator of this campaign. “This is definitely out of the norm for a real estate company, and of course, partnering with The Chainsmokers is iconic, but being able to change an artist’s life and career trajectory is something we’re really proud of.”

Jon Batiste Weighs in on Cardi B Mic-Throwing Incident: ‘We Should Be Able to Throw Things Back’

Jon Batiste has been lucky so far and avoided being pelted on stage by any sex toys, cell phones, bracelets or mixed drinks. But when the former Late Show bandleader and Grammy-winning solo star sat down with Andy Cohen on Thursday night (Aug. 10) on Watch What Happens Live for a round of rapid-fire “Spill the Music IndusTea!” questions, he had some pointed thoughts on the recent trend of fans throwing objects at performers when Cohen asked about Cardi B flinging her microphone at an audience member who doused her with a drink.

Batiste said that if concertgoers can throw things at the performers, “then us as the performers we should be able to throw things back… with less penalty.” Not without penalty he said, but maybe just “docked a few points.”

With Hollywood writers and actors on a strike that has now stretched into unprecedented territory, multi-instrumentalist and songwriter Batiste also had a sharp observation on one of the major sticking points in the negotiations with studios: AI. “Well, if you can’t play an instrument, it poses a big threat,” he said. “If you play an instrument, I don’t think anything’s gonna replace that one.”

As for his pick for song of the summer, Batiste went with Beyoncé’s “Break My Soul,” explaining that he was on a three-hour helicopter ride earlier this year and he needed some “emotional comfort” due to his fear of chopper flights. “Looking around, you can’t see anything but the ocean, and I’m not a great swimmer,” he said. “And I don’t like helicopters. I put on the headphones, I listened to ‘Break My Soul’ probably 56-57 times on repeat [singing the hook] it was like a mantra.”

Batiste also described what it was like to tour with late rock icon Prince in 2010, while spilling the best piece of advice he got from the Purple One. “He told me one piece of advice and he said it in one word,” Batiste revealed of the sage words he got when he was a 19-year-old player on the come-up. “Privacy. That was the musical advice and life advice.”

Watch Batiste on WWHL below, where he also talks about how it felt to have former Pres. Barack Obama include his song “Freedom” on his 2021 favorite songs playlist and the mind-blowing note he got from No. 44.







Nicki Minaj Teases She’s Written Her ‘Greatest Song’: ‘The World Needs This’

Nicki Minaj is 100 percent in album mode right now — and she’s excited about one track in particular. On Thursday (Aug. 10), the “Barbie World” rapper tweeted reveal that she’s made what she considers to be her magnum opus song.

“The greatest song I’ve ever written. My goodness. Opened the vault & played it last night & the reaction,” Minaj shared. “My babies have to have this. The world needs this. Trees will grow. Y’all I’m in love. I’m not kidding y’all.”

The 40-year-old gave a few hints in fan interactions with her beloved Barbz. One fan asked if Minaj was “talking about the first song on #PinkFriday2,” to which she replied, “No babe. This won’t be the first song on the tracklist.”

Another excited fan expressed joy at Minaj’s revelation, commenting, “you got some hits in there ik it.” The “Super Freaky Girl” emcee confirmed, and then some in her response: “Oh baby this is beyond just having ‘hits’. This is the word that stands above ALL OTHER words. This is a C-L-A-S-S-I-C.”

Minaj further doubled down when a fan recalled, “The way us Barbz gonna remember when you said this after hearing the song in November gonna be LEGENDARY cause you never LIE!!!.”

The rap icon replied, “And you can bet me all the money in the world on this one boo. I’m being so serious right now yo wow. This is what TF my babies fkng deserve. And y’all know I don’t throw out certain terms loosely. But ‘classic’ is the word. Hits galore. But ‘classic’ is the word.”

Minaj’s upcoming fifth album, Pink Friday 2 — the sequel to her record-breaking debut album Pink Friday — is scheduled to arrive on Nov. 17, after originally being slated for an October release.

See Minaj’s tweets below.

Rauw Alejandro Pens a Heart-Wrenching Love Letter to Rosalía in ‘Hayami Hana’: Here Are the Lyrics Translated Into English

Rauw Alejandro pours his heart out in his new song “Hayami Hana,” a love letter to Rosalía in which he opens up about how difficult their breakup has been for him and says that he never thought they would separate.

“We’ve argued, I find it hard to express myself/ All my shortcomings you already know/ I have to put up with your things too/ But the option of removing myself never crossed my mind,” sings the Puerto Rican star.

The track released on Thursday (August 10) — whose title in Japanese could be translated as “flower of rare beauty” — comes less than a month after the couple announced that they have ended their relationship after nearly four years together. Its moving lyrics evidence Rauw’s deep love and respect for his ex-fiancée, both as a person and as an artist.

“What will come next? I don’t know/ But I know that for you it will be all the Grammys, hey/ They will study your art over time/ When they plan, I know that they always take you as an example,” sings Rauw. And in one of the most heartbreaking moments he laments, “I’ll finish our little house in case you feel like coming back/ Today I stop writing you, not loving you.”

Rauw and Rosalía met in person in 2019 — after months of messaging each other on social media — at a Las Vegas hotel lounge during the Latin Grammys. It was love at first sight, the couple told Billboard for their cover story interview. Shortly after, on March 24, 2023, they revealed that they were engaged in the music video for “Beso,” one of the three songs included on their joint EP RR, released that same day.

Since the inception of their relationship, Rosalía and Rauw were each other’s biggest supporters on and off the stage. Rosalía sang backing vocals on “Dile a Él” from Rauw’s first album, Afrodisiaco (2020), as well as on “Corazón Despeinado” from Saturno (2022), while Rauw co-wrote some lyrics for Rosalía’s “Chicken Teriyaki” from her Grammy and Latin Grammy-winning 2022 album, Motomami.

“I’m lucky to be your partner, and I want to be there for you, sabes? And I feel you’re there for me, independent of the careers,” said Rosalía, who had Rauw as a guest on her Coachella set in April where they performed “Beso” and “Vampiros” off RR. “For me, our relationship is first, and then there’s everything else. Of course my career is super important in my life, but at the same time, in my life, you’re my companion, and everything else comes second.”

Listen to “Hayami Hana” and read the lyrics of the song translated to English below:



In case we never talk again
And my favorite eyes don’t look at me again
I do this for when you want to remember
Of the crazy person who really loved you.
And I’m not going to make myself strong
I am not going to fake it
Everyone here knows that I’m gonna cry, I’m gonna miss you
Yes, there is nothing to hide here
But there are a couple things that I want to get off my chest.

Everybody knows, everybody knows
Everybody knows, everybody knows
Everybody knows, they know s–t
Everybody knows, everybody knows
Everybody knows, everybody knows
They say they know, they know s–t

We’ve argued
I find it hard to express myself
All my shortcomings you already know
I also have to put up with your things
But the option of removing myself never crossed my mind.
And what a pity, couples no longer last
They last a little, there are few old people left
To tell us their little tricks
How can I see
All my life with you, the dawn?
And mami I don’t have the answer for this
But I loved both your qualities and defects equally
Everything gets harder with time
But not all people are prepared for this
And I don’t blame you, the life we ​​lead is not for everyone
The press, social media, peer pressures
Being away is more difficult, easier together
We work non-stop but to what extent
Being in our little camp is worth more than all the money and fame
To wake up and see you by my side
I don’t feel like getting out of bed

Hey, all my songs are for you since Afrodisíaco
Everyone knows that, that’s irrelevant
It’s that I can’t stop missing her sleeping in my arms
I don’t know how to stop thinking about that last hug
And if I had known that it was going to be the last one, I wouldn’t have let her go
Maybe now she would be by my side
Watching movies in tuck in bed
But this summer I had to be like the sun, alone

I may be many things, but never unfaithful
She always had the key to my cell
This was something else that is not in my power
My crystal girl, my paper boat
You disarmed and I tried to fix you
And although you went far away from me, I stayed
Now I’m not here but I want you to know that
You are stronger than you think
And I hope someday we can laugh at the past
There are no grudges here, this is not a complaint
If you have given me the best days
That’s why I have your name tattooed on my belly, ma
I gave you everything and I would do it again
I will finish our little house in case you feel like coming back
Today I stop writing you, not loving you
How to forget your kisses after that nap?

Everybody knows, everybody knows
Everybody knows, everybody knows
Everybody knows, they know s–t
Everybody knows, everybody knows
Everybody knows, everybody knows
They say they know, they know s–t

To finish
I know you’re going to be the best artist
It’s just that another like you I really don’t think exists
You are the most beautiful cover of all magazines
I would know even if I couldn’t see
If just by hearing your voice
The sea calms down from any torment
Thousands of people agree
I don’t say it because of this feeling
And from Los Angeles I knew it
She is my MOTOMAMI
What will come next? I don’t know
But I know that for you it will be all the Grammys, hey
They will study your art over time
When they plan I know that they always take you as an example
And even if they copy you, they will fail in the attempt
Because only God chooses a few with that talent
You are genuine, you are amazing, you are, you are pure joy, huh
You are medicine
You heal my heart
All those nights at home dancing to our song
And if life brings me together with you on another occasion
I won’t argue with fate’s reason

Once again I’m staying here without you
D–n, baby, I’m gonna miss you
I didn’t see this coming to an end, yeah
Once again I’m staying here without you
This time I’m not going to stop you
I say goodbye to you, have a great time, yeah
Oh, oh-oh-oh, oh-oh, how it hurts
I say goodbye to you, have a great time
Oh, oh-oh-oh, oh-oh, how it hurts
I say goodbye to you, have a great time
Oh, oh-oh-oh, oh-oh, how it hurts
I say goodbye to you, have a great time
Oh, oh-oh-oh, oh-oh, how it hurts
Oh-ah-ah-ah
Hayami Hana!
Hayami Hana!
Hayami Hana!
Hayami Hana!
Yeah, yeah

Justin Bieber’s ‘Baby’ Music Video With Ludacris Hits 3 Billion Views on YouTube

Oh, baby! Justin Bieber and Ludacrismusic video for the former tween star’s breakout single “Baby” has hit 3 billion views on YouTube.

The “Baby” video came out in 2010 and effectively introduced the world to the young heartthrob with a skater haircut, high-pitched voice and smooth dance moves who would go on to help define pop music for the next decade. The visual features a 15-year-old Bieber wooing a girl with an epic dance-off at a bowling alley, joined by Ludacris, whose rap verse about a teen romance remains wholly iconic.

The year it was released, “Baby” became the most-watched video in YouTube history at the time, surpassing Lady Gaga’s “Bad Romance” with 246 million views. It was also the most-disliked video on the platform until 2018, when that year’s YouTube Rewind amassed more dislikes than “Baby” in just one week.

In 2020, Bieber celebrated the 10-year anniversary of his career breakthrough with a nostalgic Instagram post, sharing a throwback to the decade-old cover art of his multiplatinum single. The song served as the lead single of his debut album, My World 2.0 and debuted at No. 5 on the Billboard Hot 100, trumping the successes of his earlier singles such as “One Time” and “One Less Lonely Girl.”

“Baby” isn’t the first of Bieber’s music videos to join the exclusive 3 billions club, with 2015’s “Sorry” currently approaching 3.7 billion. In 2016, the “Yummy” singer became the first artist to crack 10 billion combined views on Vevo.

Watch the “Baby” music video above.

Congress’ AI Stumbles Leave Artists and Creators At the Mercy of Big Tech (Guest Column)

As artificial intelligence remains the hottest topic of 2022, last month President Biden stood alongside big tech leaders as they pledged impotent “voluntary commitments” to control the emerging technology. Those leaders did so fully comprehending the dangers posed by the rapid and unrestricted penetration of AI through society — which are especially grave for artists and creators.

None of the commitments can give anyone in the music or creative industries comfort. They are as basic and malleable as “prioritizing research” and “sharing information on managing AI risks.”  It is impossible to monitor big tech’s compliance with them. Even worse, all of the commitments are unenforceable. 

We are already experiencing the consequences of the unbridled development and use of AI. Copyrighted material is being routinely ingested and used by AI conglomerates without the consent or even knowledge of rights holders. AI-generated vocals and deepfakes — given prominence by the Fake Drake and The Weeknd’s “Heart On My Sleeve” saga — are prevalent and becoming more realistic by the day. “Artificial streaming” — whereby AI bots create and upload songs, and then artificially inflate streaming numbers — is a massive issue for the streaming industry. Misinformation and inaccuracies in AI output are rampant. Generative AI programs suffer from what experts call “hallucination” — where they make up or misrepresent facts. The victims are widespread, ranging from lawyers given fake legal cases to cite in court papers, to a professor named as the accused in a sexual harassment scandal fabricated by AI.

Nicholas Saady

Nicholas Saady

The lacuna of AI regulation and long wait for decisions in significant AI court cases leaves rights holders, and broader society, at the mercy of big tech. That includes the protagonists of the 2016 Cambridge Analytica scandal (where there were laws in place prohibiting such misconduct), Frances Haugen’s 2021 revelations about Facebook and its platforms’ impact on issues such as teen health and even human trafficking, as well as those being investigated by the FTC for engaging in unfair or deceptive practices causing harm to consumers. Some in this group have recently shown immense hostility to lawmakers, and threatened to leave the EU if it regulates AI. None are those whose history or current actions compel public trust. 

We also have minimal, if any — a point recently illustrated by the California Stability AI lawsuit, in which key issues are copyright infringement and data scraping — transparency around the ingestion and scraping of data by companies that own generative AI. Content and data protections were not formulated with current forms of AI in mind. Nor were copyright and right of publicity laws. It is unclear whether they provide sufficient protections, and in any case, are difficult to enforce amidst the black box of AI data ingestion. 

Draconian regulation is not the answer to these issues. Nor is inaction. Congress has been exceptionally slow to move. While some lawmakers have proposed legislation, held a few congressional hearings, and suggested new federal agencies to deal with AI, nothing meaningful has resulted. The significant AI litigation is also not progressing quickly. Recently, a Federal Judge indicated that he was inclined to dismiss the California Stability AI lawsuit, but would give the plaintiffs a chance to reformulate their case. This means any decision or guidance is unlikely this year. Similar court cases will not provide definitive guidance soon, and many may settle. Even if decisions are released, they will not be universally applicable. 

U.S. Congress’ inaction starkly contrasts the European Union’s continued development of its “AI Act,” which includes important guardrails for the use of AI. For generative AI such as ChatGPT, the AI Act requires disclosure of content generated by AI; prohibitions on the ability to generate illegal content; and publication of copyrighted data used for training. It also prohibits real-time and remote biometric identification systems and cognitive behavioral manipulation using AI. While the final form of the Act is being negotiated, the EU hopes to “reach an agreement by the end” of 2023. 

However, the EU AI Act is not a panacea — especially not for artists and creators, as music industry organizations like GESAC, ICMP, IFPI, IMPALA and IMPF recently pointed out to the EU. To properly protect human creativity and rights in creative output, more can be done to increase transparency regarding the data on which AI is trained and record keeping of the same — particularly content which is protected by registered copyrights. Such publicly accessible information will enable artists and creators to determine if their content has been ingested by AI, and also to make fully informed assessments as to whether AI outputs constitute infringement or fair use of their content. Stronger protections around the use of video and audio deepfakes and digital recreations of humans, particularly celebrities, are becoming an increasing priority to protect privacy, creativity and livelihoods.   

The stakes are too high for a wait and see approach. We saw what happened when that approach was employed with cryptocurrency: FTX and other similar debacles. The potential impact of generative AI is greater because of its universal application and almost limitless potential. As history and the cacophony of current AI lawsuits make clear, big tech has little regard for the intellectual property, livelihoods and creativity of artists and creators, nor for individuals’ privacy and personal information. 

The recent “voluntary commitments” won’t change a thing. Congress should take swift action. It has a unique opportunity to lead the world in AI regulation by passing an enhanced version of the EU AI Act.  The risks of inaction amidst the rapid development and use of generative AI — like AI’s capabilities — are in many respects, existentially threatening.

Nicholas Saady is a U.S. and Australian lawyer, who represents high-profile organizations and individuals — including major artists, labels and agents — regarding complex intellectual property, technology and commercial matters.  He has also published widely on issues relating to technology, AI, NFTs and cryptocurrency.

Truth Social User Drops Dime On Would-Be Biden Assassin Killed By The FBI

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FBI

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Wednesday (Aug. 9), the FBI gunned down MAGA disciple, Craig Robertson, after he threatened to shoot and kill President Joe Biden and Manhattan DA, Alvin Bragg. But interestingly enough, the man was put on to the FBI by a fellow MAGAt.

CNBC is reporting that the FBI was tipped off of Robertson’s intentions in by a user on Truth Social. The platform serves as a social media website for far-right Trump supporters who use the site to promote conspiracy theories, their hate of liberals and democrats, and in the process, further remove themselves from reality in search of a safe space for their worst and often times racist impulses. A Truth Social user contacted the FBI about Robertson’s troublesome posts in March to which they responded with a visit to his Utah residence. Robertson turned them away and told them to come back with a warrant.

With Joe Biden touching down in Utah this week, the FBI went to Robertson’s home armed with a search warrant, but Robertson greeted them with a gun this time and from there it was all downhill for the Trump fanatic.

CNBC reports:

Robertson, 75, was armed when FBI agents confronted him at his home in Provo on Wednesday morning and pointed his weapon at agents and did not respond to their commands before they fatally shot him, a senior official told NBC.

Agents were there to arrest him on a federal criminal complaint accusing him of making death threats against Biden, Bragg and FBI agents.

Robertson was killed hours before Biden arrived in Utah for a visit.

In a social media post on Sunday, Robertson wrote, “I heard Biden is coming to Utah.” He added that he was dusting off his “M24 Sniper Rifle.”

Robertson was described by the FBI in that complaint as a white man “approximately 70-75 years old” who was surveilled “wearing a dark suit (later observed as having an AR-15 style rifle lapel pin attached), a white shirt, a red tie, and a multi-colored (possibly camouflage) hat bearing the word ‘TRUMP’ on the front.”

Naturally, MAGA country has described the incident as another example of Joe Biden using the FBI to kill innocent Americans who oppose his views comparing them to the Gestapo of Hitler’s Germany, but come on now. The man pointed a gun at the FBI. What’d they expect to happen? White privilege can only take you so far in America.

As for who spilled the beans on Robertson’s diabolical plan, no one knows. But best believe those Truth Social users will somehow place this on “the radical left” and continue to blame everyone but themselves for everything that’s “wrong” in this country.

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New York City Honors Run-DMC With Their Own Day

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Adidas x Hip Hop Anniversary - Wed Aug 9

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As Hip-Hop pioneers, Run-DMC’s legacy is undeniable and New York City is cementing it further by giving the group its own day.

Through a press release, it was announced that New York City Mayor Eric Adams bestowed Rev. Joseph “Run” Simmons and Darryl “DMC” McDaniels with a proclamation declaring an official “Run-DMC Day”, which will forever be celebrated on August 9th. The news comes as the Hollis, Queens group was feted with the Run-DMC Pop-Up Celebration by Adidas Originals. The group made the news public through their Instagram page.

“Coinciding with the group’s Friday (August 11th) return to headline the Hip Hop 50 Live Concert, the pop-up gives fans access to merchandise from Barriers Worldwide and the Crate NY in addition to coolers in partnership with Igloo and other Run-DMC novelty merchandise items,” the press release also stated, taking time to acknowledge the group’s longstanding partnership with Adidas. The pop-up will run through August 12th at Bleecker Street Trading in Manhttan.

The honor comes as the group is fresh off of their sensational performance at the Rock The Bells Festival at Forest Hills Stadium in Queens, New York last Saturday. They will also be performing at the Hip Hop 50 Live concert to be held at Yankee Stadium, coinciding with the 50th anniversary of the culture since the first jam held by DJ Kool Herc at 1520 Sedgwick Avenue in The Bronx in 1973. It adds to a run some believed to be their final one, as DMC had stated before in an interview with Rock The Bells that the group would take its final onstage bow this past April.

“Run-DMC is over,” he said at the time. “The only way Run-DMC gets back together is if The Beatles get back together. Can that happen?” He continued: “The final show that we are ever going to do is going to be at Madison Square Garden in April. It’s going to be the last episode of the documentary we’re doing. Run-DMC’s last show ever. ‘Cause it’s time for Run to go be Paul McCartney and me to be John Lennon. We done did what we could do.”

McDaniels and Simmons, along with the late Jason “Jam Master Jay” Mizell, forever shaped Hip-Hop culture with their debut album in 1983. Attaining superstardom, the group was honored with a Lifetime Achievement award from the Grammy Awards in 2016.

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The Future 50: Predicting R&B/Hip-Hop’s Next Legends 

Billboard forecasts which next-gen artists, creatives and executives will be tomorrow’s greats.

If there’s one constant in the music industry, it’s this question: Who’s got next? As hip-hop’s 50th anniversary celebration continues, its various GOAT lists, special compilations and other reflections on the past have also elicited conversations about which younger artists now would warrant a similar spotlight in the future. After the respect and props being accorded to hip-hop’s fearless pioneers this year, who will be the next trustees ensuring hip-hop’s future? 

With that in mind, Billboard is observing National Hip-Hop Day today (Aug. 11) with the unveiling of its Future 50 list. Instead of focusing solely on rap artists, Future 50 represents all of the players most likely to change the game, including R&B artists as well as songwriters, producers and executives working in the realms of hip-hop and R&B. The Future 50 will be revealed 10 names at a time alphabetically, with the entire list posting in December.  

In determining those selected, we considered the impact each candidate has achieved to date, but focused even more on the potential each has for sustaining and building on that momentum in the coming years. Weighing into that assessment were factors such as chart achievements, industry accolades, cultural influence and skill set. As a result, some of those chosen are already household names, some are getting there, and some you may not be familiar with just yet. The executives we picked, who hail from record labels, publishing companies, management and other industry sectors, show outsize promise based on their acquisitions, signings, partnership ventures and what they’ve helped their clients achieve. 

Now read on and see who’s got next in the first installment of Billboard’s Future 50.  

Executive Turntable: UMG Has Sights on Singapore; SiriusXM Promotes Jen Leiweke to VP of Artist Relations

Universal Music Singapore hired Alice Kent as general manager, overseeing day-to-day operations and spearheading efforts to up the UMG division’s presence in the Southeast Asian island country. She reports to UMG chief of South East Asia Calvin Wong, who says Kent “brings with her a pioneering spirit and a wealth of experience from her decades of working in the music and entertainment industry” — including a recent stretch as marketing, partnerships and business development director at Live Nation Entertainment Singapore, and before that senior roles at both Warner Music and Sony Music. Among the many feathers in Kent’s cap include securing sponsorship deals for Blackpink and brokering partnerships with Singtel and PayPal, in addition to working with Billie Eilish and the Singapore Tourism Board.

Alexander Vazelakis was named head of A&R for longstanding dance imprint Ultra Records. This is Vazelakis’ return to the label, where he previously spent nearly a decade working with artists including Sofi Tukker, Icona Pop, Steve Aoki, Anabel Englund and DVBBS. Based in Los Angeles, Vazelakis most recently served as VP of A&R at both Helix Records and Ultra Publishing and now reports to Ultra Records President David Waxman. –Katie Bain

SiriusXM promoted longtime executive Jen Leiweke to vice president of artist and industry relations. Previously a senior director on the talent and industry relations team, Leiweke joined Pandora in late 2010 and has worked across marketing, brand partnerships, live and experiential. In the past year, Leiweke helped develop a major sponsorship framework with American Express around SiriusXM’s Small Stage Series, which has featured performances from John Legend at The Wiltern in Los Angeles and Halsey at Union Transfer in Philly, among others. She also helped launch SiriusXM’s first foray at Miami Art Basel along with partner Chase Sapphire. Prior to joining Pandora, which was acquired by SiriusXM in 2019, Leiweke held positions at Alison Prod Public Relations and AEG.

Marigo Mihalos was also promoted to vice president at SiriusXM, where she oversees the entertainment booking team specializing in film, TV, and lifestyle. Before joining the satellite radio giant, Mihalos launched her own PR agency and later solidified her reputation as a booker on television shows like The Wendy Williams Show and Who Want to Be a Millionaire. Her best-of list of wins at SiriusXM include snagging the entire cast of Elvis for a Graceland appearance and orchestrating a collaboration between Bravo host-with-the-most Andy Cohen and icon-of-icons Dolly Parton at Dollywood. She can be reached at Marigo.mihalos@siriusxm.com.

Nashville-based publishing and artist development company Back Blocks Music expanded its team, adding Autumn Ledgin as senior director of A&R and Elizabeth Cook as creative coordinator. Back Blocks Music was founded by Billboard Power Player and 40 Under 40 recipient Rakiyah Marshall, with a roster including Ashley Cooke, Lily Rose, Blake Pendergrass and Tucker Wetmore. Ledgin previously worked at Good Company Entertainment, as day-to-day manager for the company’s roster, including Jake Owen and Larry Fleet, before adding A&R duties and becoming a board member and planning coordinator for the Jake Owen Foundation. Cook joins Back Blocks Music during her senior year at Belmont University as a songwriting major; she previously interned at Creative Nation and King Pen. –Jessica Nicholson

Believe-owned TuneCore appointed Tash Shah as its new vice president of International at the digital music distributor. Shah is a 12-year veteran at Spotify, where she served as the streaming giant’s first head of marketing in the UK and most recently held the title of director of growth programs. At her new gig, which is based in London, she’ll drive TuneCore’s international growth into new global markets oversee a team across 17 countries, while developing programs to benefit TuneCore’s growing roster of artists and labels. Shah will eventually report to TuneCore’s TBA chief revenue officer, but in the interim will work directly with CEO Andreea Gleeson.

Songtradr appointed Paul Langworthy to chief revenue officer of the music licensing marketplace and distribution platform. Reporting directly to CEO Paul Wiltshire, Langworthy’s focuses will include expanding licensing, music management, and creative branding opportunities, as well as continuing expansion into markets where music rights management remains under-monetized. Langworthy was previously CEO of U.K. digital music company 7digital, which Songtradr scooped up earlier this year for roughly $23 million. At the time of the acquisition, it was announced that Langworthy and the bulk of 7digital’s senior leadership team would join Songtradr. “Paul has a proven track record of successfully managing large teams, multiple revenue streams and has a deep understanding of the complex music rights ecosystem we work in,” said Wiltshire.

ICYMI: Tom Becci joined Concord Label Group as chief executive … peermusic appointed Elizabeth Rodda as president of Latin America and global society relations … About sixty employees are set to be impacted by layoffs at CAA … and Quality Control CEO Pierre “P” Thomas won Billboard’s R&B/Hip-Hop Power Players’ Choice Award.

A2IM hired Melissa White as director of membership and Jasmine Lopez-Alvarez as marketing manager of the independent music advocacy group. In their new roles, White will oversee A2IM’s label relations and membership engagement strategy, while Lopez-Alvarez will manage marketing initiatives and spearhead membership growth. White arrives from sample marketplace Tracklib, where she rose to music catalog director; Lopez-Alvarez has clocked time at SiriusXM, Maruder and HIFI. “Their experience and passion for independent music will play a crucial role in developing our reach and furthering our mission,” said Richard James Burgess, CEO of A2IM. You can reach the pair at melissa@a2im.org and/or jasmine@a2im.org.

Industry veteran Nathalie Rubin joined PR collective Hustle&Co. as account supervisor. Based in Los Angeles and reporting to founder and CEO Jenn DeMartino Callister, Rubin’s remit will center around driving campaigns for clients including music investment firm Influence Media Partners, destination experience company Vibee and something called Spotify (specifically its EQUAL and GLOW programs). Prior to joining Hustle, Rubin served as publicity manager at Elektra Entertainment, acing press campaigns for the label group’s artist roster found on Fueled by Ramen, DTA Records and the mothership imprint. She kicked off her career with a five-year stretch at BMG Recorded Music, where as in-house publicist she worked directly with a murderer’s row of rock favorites including Evanescence, Thrice, Black Rebel Motorcycle Club and My Chemical Romance’s Frank Iero. She can be reached at Nathalie_Rubin@hustleandco.com.

The Black Music Action Coalition (BMAC), a non-profit organization founded in 2020 to combat systemic racism in the music business, added rapper-activist Cordae and Live Nation Urban president Shawn Gee to its Executive Leadership Council. Cordae and Shawn Gee, who received the Social Impact Award at BMAC’s inaugural annual gala, join a growing list of industry leaders on the ELC, including Dina LaPolt, Wassim “Sal” Slaiby, Jonathan Azu, Tariq Cherif and Jeff Azoff, among others. See a full list here.

VRTCL, a content management and influencer marketing agency, promoted Imani “Mango” Lewis to director of music and Jenn Rilloraza to director of brands and content. In their new roles, Lewis will lead overall strategy and operation of the music and social teams, while Rilloraza will continue working with her team to develop authentic content on behalf of some of the world’s biggest brands. Both report to FH Media CEO, Ash Stahl, who says they “have a proven history of working closely with artist and commercial brands to amplify their messages in ways that are completely authentic.” VRTCL was acquired by Create Music Group in early 2022 and folded into an FH Media roster that also includes influencer brands Flighthouse, Teenager Therapy and Retirement House.

Nashville Notes: Musicians On Call, a Nashville-based nonprofit that brings live and recorded music to the bedsides of patients in healthcare facilities, announced a series of promotions and new hires. Promotions include Kat Weeks to vp of marketing, Torianne Valdez to senior talent manager and PJ Cowan and Caroline Love to senior program managers. New hires include Orenda Senior as program coordinator and Sasha Arnkoff as executive assistant … Triple Tigers hired Nashville-based Blake Nixon as director of Southeast promotion. He previously held a similar role at Show Dog Nashville … Shelby Yoder founded songwriter/producer management company willo&co. She was previously head of Milk & Honey Nashville.