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Feds Urge Supreme Court To Skip Lawsuit Pitting Genius Against Google Over Song Lyrics

The U.S. Department of Justice is urging the U.S. Supreme Court to avoid a case alleging Google stole millions of song lyrics from the music database Genius, calling it a “poor vehicle” for a high court showdown.

Genius — a platform that lets users add and annotate lyrics — wants the justices to revive its lawsuit, which claims that Google improperly used the site’s carefully-transcribed content for its search results, after the case was dismissed by a lower court last year.

But in a brief filed Tuesday (May 23), the U.S. Solicitor General told the Supreme Court to steer clear. It said the case was a “poor vehicle” for reviewing the issues in the case, and that the lower court did not appear to have done anything particularly novel when it dismissed the case against Google.

“In the view of the United States, the petition for a writ of certiorari should be denied,” the government wrote.

Genius sued the tech giant in 2019, claiming Google had stolen the site’s carefully-transcribed content for its own “information boxes” in search results, essentially free-riding on the “time, labor, systems and resources” that go into creating such a service. In a splashy twist, Genius said it had used a secret code buried within lyrics that spelled out REDHANDED to prove Google’s wrongdoing.

Though it sounds like a copyright case, Genius didn’t actually accuse Google of stealing any intellectual property. That’s because it doesn’t own any; songwriters and publishers own the rights to lyrics, and both Google and Genius pay for the same licenses to display them. Instead, Genius argued it had spent time and money transcribing and compiling “authoritative” versions of lyrics, and that Google had breached the site’s terms of service by “exploiting” them without permission.

But in March, that distinction proved fatal for Genius. The U.S. Court of Appeals for the Second Circuit dismissed the case, ruling that only the actual copyright owners — songwriters or publishers — could have filed such a case, not a site that merely transcribed the lyrics. In technical terms, the court said the case was “preempted” by federal copyright law, meaning that the accusations from Genius were so similar to a copyright claim that they could only have been filed that way.

In taking the case to the Supreme Court, Genius argued the ruling would be a disaster for websites that spend time and money to aggregate user-generated content online. Such companies should be allowed to protect that effort against clear copycats, the company said, even if they don’t hold the copyright. “Big-tech companies like Google don’t need any assists from an overly broad view of copyright preemption,” the company wrote.

Such petitions are always a long shot since the Supreme Court takes less than 2% of the 7,000 cases it receives each year. But in December, the justices asked the DOJ to weigh in on whether it should take the Genius case.

In Tuesday’s filing, the DOJ said firmly that it should not — arguing, among other things, that the lower court’s ruling for Google had been largely correct. Though the agency had quibbles with some of the lower court’s analysis, it said Genius was essentially using contract law to claim the same rights as a copyright owner — the exact scenario in which such claims can be “preempted” by federal law.

“In substance, petitioner asserts a right to prevent commercial copying of its lyric transcriptions by all persons who gain access to them, without regard to any express manifestation of consent by website visitors,” the agency wrote.

The Supreme Court will now decide whether or not to hear the case; a decision on that question should arrive in the next several months. A spokesperson for Genius did not immediately return a request for comment on the DOJ’s filing.

Read the DOJ’s entire brief HERE.

Friday Dance Music Guide: The Week’s Best New Tracks From Swedish House Mafia, Folamour, Jungle & More

This week in dance music: We got the backstory of the new Donna Summer doc from the film’s creators, broke down why not one but two Avicii documentaries are currently in production, saw Daft Punk’s Random Access Memories return to the No. 1 spot on Dance/Electronic Albums via the release of its 10th anniversary edition and chatted with the producer’s of the one and only Movement festival, which launches today (May 26) in Detroit.

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And guess what. There’s more. Let’s get it into it.

Swedish House Mafia, “See The Light”

The Artists: The no-introductions-necessary Swedes.

The Label: Republic Records

The Spiel: As Fred again.. has made “emotion” one of the predominant trends of commercial dance music over the last year-plus, the producer’s good pals and collaborators Swedish House Mafia get overtly blissful with “See The Light.” (In fact Fred’s actual fingerprints seem to be on this one, with Sebastian Ingrosso thanking Fred for his help on “See The Light”s arrangement via Discord.) First teased during their Ultra Music Festival set back in March, the song is a gently propulsive dancefloor hymn that sounds a lot like light itself and features spirited vocals from Philly rapper Fridayy. The track arrives as part of EA Sports’ Formula 1 soundtrack, released in conjunction with the Monaco Grand Prix happening this weekend.

The Vibe: Hugging everyone in your immediate vicinity while crying uncontrolled happy tears at the end of the set.

Folamour, “Poundland Anthem”

The Artist: Marseille-based house producer Folamour.

The Label: Columbia France/Ultra/ FHUO Records

The Spiel: A standout from the producer’s seventh studio album Manifesto, the nearly six-minute “Poundlound Anthem” is a lush and maximally effervescent thrill ride that effortlessly incorporates brass, disco strings and a persistent synth reminiscent of Chemical Brothers’ “Swoon,” and which throughout remains as sleek as it is joyous.

The Producer Says: “At times fearlessly,” the artist write in the actual manifesto he wrote in conjunction with the album, “we manage to knock down walls which conceal our hopes. We overlook the boundaries which are forced upon us, along with the difficulties strewn on the path we take to achieve feat. We head towards the other and share who we are, our values, our ideas, we create new families. We open our minds to new music, smells and stories. We fill the world with new colors and sounds, we trigger new opportunities towards what is possible. This way, the freedom of not being compromised, not letting anyone impose who we are and remaining true to what we believe, gives us wings to find the beautiful and extraordinary, a feeling of being alive, not to mention, the fire within us, a gem in the making.

The Vibe: Beautiful, extraordinary, a feeling of being alive.

Hamdi, “Counting”

The Artist: Oxford-born producer Hamdi, who’s been rinsed by everyone from Porter Robinson to Skrillex to Fred again.. to Knife Party and Zeds Dead.

The Label: Deadbeats

The Spiel: After much hype and a breakout set at EDC Las Vegas last weekend, the rising U.K. producer drops “Counting,” which pairs a jittery buzzsaw bassline with rapper Princess Superstar declaring, on repeat, “One, two, three, four, let me hear you scream if you want some more,” with the high pitch of these vocals playing deliciously off the low-end they’re laid on.

The Vibe: Like a Jane Fonda workout for wooks.

Jungle, “Dominoes”

The Artists: The ever-consistent and always artful U.K. duo Jungle.

The Label: Caiola Records

The Spiel: Jungle’s latest gives light Khruangbin vibes, with a stoney guitar riff layered up with soft percussion and soul vocals, altogether creating a warm sunbeam of a track that comes with one of the duo’s signature choreographed dance videos, this one featuring a single elegantly arranged tracking shot. The song is from the duo’s forthcoming LP, Volcano, out August 11.

The Vibe: Lazy Sunday with the object of your affection.

Kungs & Carlita, “Shadows”

The Artists: Club world queen bee Carlita and French producer Kungs.

The Label: Val Production

The Spiel: Lifting lyrics straight from the bible (check Psalm 23:1–6’s “Yea, though I walk through the valley of the shadow of death..”), the pair indeed deliver peaks and valleys with a build/release club track built from a steady kick, tough electro and one big wind up that will legit have you fearing no evil.

The Vibe: Cups runneth over.

London Grammar, “Baby It’s You” (Dot Major Remix)

The Artists: The venerable U.K. indie electronic trio, as remixed by its own Dot Major, who’s entered his solo career phase.

The Label: Ministry of Sound Recordings

The Spiel: London Grammar’s supremely dreamy 2021 track “Nothing Else Matters” is pared way down by Majors, who keep the mood lush while adding a darker and decidedly sexier vibe while making space for Hannah Felicity May Reid’s stunner of a voice. The song is the first release from a remix package of the group’s work coming July 21 that will feature edits by Joris Voorn, Jamie Jones, Goddard and more.

The Vibe: Making eyes across the dancefloor.

Snoop Dogg Called A “Depressed” Tyrese & Offered Words Of Encouragement

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Snoop Dogg

Source: Roberto Ricciuti / Getty

Over the years, Tyrese hasn’t been shy about showcasing his vulnerability on social media and proving to be one of the most emotional celebrities in the game. Luckily for him, he has some celebrity homies who’ll take the time to reach out and offer him a shoulder to cry on.

On Thursday (May 25), Tyrese took to Instagram to share how Snoop Dogg came to his aid in his time of need and gave us more reason to love the Doggfather while also supporting Tyrese as he sails through turbulent waters. In the post that featured some audio from Snoop’s call, Tyrese wrote “I was depressed and posting my raw vulnerabilities online God knows I need this phone call from my big homie Snoop Dogg.”

In the audio, we hear Snoop offer up words on encouragement and understanding saying “See all these people that you naming? The record industry don’t respect them and don’t understand the fucking heavyweight shit that you dropping on this record.” Continuing to comfort him with words, Snoop explained, “This is mental health. This is relationships. This is all of the shit that the world is going through in one package, and my ni**a dealing with it, you actually dealing with it through the pain of this record. You’re gonna help somebody else learn how to live through pain and make that a beautiful pain.”

Anyone would be lucky to have a Snoop Dogg in their corner. Not just cause they’d have an exceptional weed connect or Skechers plug, but because the man seems to be the kind of person to look out for his homies on an emotional level, and those type of people don’t grow on trees.

“You my ni**a, cuz. I’m not gon’ never let you put your m*thafuckin’ head down and do nothing that ain’t appropriate. I’ma watch you from the sidelines, and then when God and them talk to me from upstairs, that’s when I’ma step in and do what Kim do. We work for the same God, my ni**a, you gotta know that,” Snoop said as the audio went on.

Snoop could be looking at a new opportunity as a G’d up therapist for the hood. Just sayin’.

The post comes on the heels of Tyrese talking about turning down some record deals as he is still dealing with the fallout from the divorce of his ex-wife, Samantha Lee, who he says married him for “money” and said it was a “transaction” for her.

“Wow, so we did whole marriage and did the whole duration of a child and starting a family, just to find out that it was all about money… status?”

Naturally, someone who wears his heart on his sleeve like Tyrese does would be devastated to feel like his marriage was a sham, but luckily he still has Snoop in his life and he was there to help him pick up the pieces and encourage him to move forward.

Check out Tyrese talk about turning down some record deals below, and let us know what you think about Tyrese’s situation in the comments section below.

Taylor Swift x Ice Spice, Dua Lipa & More: What’s Your Favorite Music Release of the Week? Vote!

It’s the final new music Friday of May, which marks the unofficial start of summer with Memorial Day weekend. Taylor Swift with Ice Spice, Dua Lipa and more have all offered up brand new songs that are perfect for adding to cookout playlists and beyond.

Swift surprised fans earlier in the week when she revealed that Midnights track “Karma” would be getting a remix featuring Billboard‘s current cover star Ice Spice, along with a new version of “Snow on the Beach” with Lana Del Rey, both on the extended Midnights (Til Dawn Edition). And the surprise did not disappoint: The updated version of “Karma” finds Ice also relishing in the “what goes around, comes around” philosophy that Swift preaches on the song: “It’s OK, baby, you ain’t gotta worry, karma never gets lazy/ So, I keep my head up, my bread up, I won’t let up,” she raps.

Greta Gerwig’s Barbie movie is scheduled to be released later this summer, but fans got the first official taste of the soundtrack with the arrival of Dua Lipa’s “Dance the Night.” The pop star offers up stylish synth instrumentals and disco elements that send a surge of dopamine to the brain, while serving as an extension of her wildly successful Future Nostalgia album run. Complicated romances, broken hearts and tears do not stand a chance when Lipa’s burning up the dance floor.

Lil Durk and d4vd both released new albums and Peso Pluma returned with new single “Bye.” There’s plenty of new tunes to choose from, but we want to know: What’s your favorite release this week? Vote — or enter in your pick — in the poll below.

Takeoff’s Alleged Killer Has Been Indicted By A Grand Jury

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Takeoff

Source: Jason Koerner / Getty

Seven months after the murder of beloved Migos member Takeoff in a parking lot in Houston, his alleged killer has been indicted for pulling the trigger that took the life of the Atlanta rapper.

According to TMZ, a Texas grand jury indicted Patrick Xavier Clark for the murder of Takeoff, whose real name is Kirsnick Khari Ball, Thursday (May 25) and slapped him with murder charges for the Nov. 1 shooting. While it took a minute for police to track down the shooter, eventually authorities arrested Clark for the murder in the first days of December.

Ultimately, Clark was sprung from jail in January when he posted his $1 million bond, but it’s looking like he might get reacquainted with the prison walls as a grand jury felt there was enough evidence to bring charges in the matter. Still, Clark’s lawyer remains confident his client will be exonerated when it’s all said and done.

TMZ reports:

Clark’s attorney, Carl Moore, tells us, “Today’s action by the grand jury is not unexpected. We would ask people to remember that getting an indictment requires meeting a very, very minimal standard of proof. When we get inside a courtroom and in front of a jury, where we will be able to put on our evidence and cross-examine the state’s witnesses— where the standard of proof is guilt beyond a reasonable doubt— we expect the jury will come back with a verdict of not guilty.”

We shall see.

For those who aren’t familiar with the matter, Offset was shot and killed outside of a bowling alley on Halloween night when his fellow Migos member and uncle, Quavo, got into a physical altercation with a group of men in the parking lot of the bowling alley. Though Takeoff wasn’t involved in the matter, he was ultimately shot and killed when one of the men pulled out a gun and pulled the trigger. Authorities allege that the man in question is Patrick Xavier Clark.

Now that he’s been charged and going to trial for the killing, his fate lies in the hands of a jury of his peers, and the evidence the state has been assembling since that fateful night.

Rest In Power, King.

What are your thoughts on the situation? Let us know in the comments section below.

Moneybagg Yo Delays New Album: ‘Ima Let My Baby Taylor Swift Drop’

Moneybagg Yo can read the writing on the wall. And on Thursday night (May 25) it read Midnights (Til Dawn Edition), which is, of course, the name of the second deluxe version of Taylor Swift‘s 10th album that debuted last night.

So while earlier this month the rapper pledged to drop his new Hard to Love mixtape last night as well, the avowed Swiftie had a last-minute change of heart and decided to give it another week to breathe to avoid being Swift Yo-ted. In a video posted on his socials Thursday night, Yo sat in his custom red Ferarri and burned one down while singing along to Swift’s song “Lover,” crooning the lyrics about leaving the Christmas lights up until January as if he was in the crowd at an Eras Tour stop.

“I just got the news my little baby Taylor dropping tonight,” the Bagg man said. “I ain’t gonna lie, you know how I feel about Taylor, so I think I’m gonna push Hard to Love back just a few days. Ya’ll be patient with me, man.”

He then continued singing as he roared off the screen and said he was happy to let Swift have the spotlight while Hard to Love will now drop on June 2. The new mixtape is the follow-up to 2021’s acclaimed A Gangsta’s Pain album, which debuted at No. 1 on the Billboard 200 charts. Moneybagg had good reason to step aside for a week, as Swift’s latest deluxe edition will likely flood the zone thanks to a remix of “Karma” featuring Ice Spice, a different take of her Lana Del Rey collab “Snow on the Beach” and the previously unheard track “You’re Losing Me.”

Checkout Moneybagg’s announcement below.

Executive Turntable: Big Machine & Hard 8 Launch Record Label; Hipgnosis Global Song Management Head Exits

LJ Stoll was named GM/vp of A&R at The Hard Working Record Company, a new Nashville-based record label from Big Machine Label Group (BMLG) and management company Hard 8 Working Group. The venture was struck between BMLG president/CEO/founder Scott Borchetta and Hard 8 co-founders Dirk Hemsath and Rich Egan, along with partners David Conway and Mike Bachta. “Rich and I had been toying with the idea of starting a label again, since that’s the world we both came from,” said Hemsath in a statement. “We had been working closely with Scott and Big Machine on the artist Kidd G and Scott mentioned he wanted to start a more pop-leaning imprint and that’s the world we’ve been in heavily for the last few years, most recently building pop star Tate McRae.”

Hipgnosis Songs Fund global head of song management Nick Jarjour exited his role at the company “as I embark on an exciting new chapter in my journey,” the executive wrote on LinkedIn. “During my tenure at Hipgnosis, I had the honor of working alongside a visionary leader and mentor, Merck Mercuriadis who has achieved remarkable feats for songwriters and revolutionized the music industry for future generations,” he continued. Jarjour will continue serving as CEO of his label, publishing and creative agency JarjourCo.

Andrew Spence was promoted to general counsel at Sony Music Publishing UK, where he will oversee business and legal affairs strategies and initiatives on behalf of the company and its roster while also offering guidance and counsel on its legal and operational matters. The London-based executive will continue reporting to Sony Music Publishing UK president/co-managing director, UK/senior vp of international David Ventura and UK co-managing director Tim Major. He was previously head of legal and business affairs.

Edith Bo was named head of A&R at Rostrum Records, where she will oversee the overall direction of A&R strategy and develop strategic branding partnerships, working closely with Rostrum’s marketing team. Bo joins the company from SoundCloud, where she served as senior manager of publishing. She can be reached at edith@rostrumrecords.com.

Rob Segal joined The Feldman Agency (TFA) as partner/president of TFA Inc. Segal previously founded his own agency, Segal Communications, which became one of Canada’s largest promotional and licensing agencies, with clients including Sony, Ford, Marvel, HP and Dreamworks. In his new role, he will lead the agency in fostering new business, driving marketing campaigns and elevating its brand presence. Based at the company’s Toronto office, he can be reached at rob@feldman-agency.com.

Frederik Boutahar was named vp of A&R at Columbia Records Germany, Switzerland & Austria (GSA), which he will lead alongside vp Alexandra Falken. Boutahar will report to Sony Music Entertainment GSA CEO Patrick Mushatsi-Kareba. He joins the company from TwoSides, where he served as MD. He can be reached at frederik.boutahar@sonymusic.com.

Sebastian Mair joined digital rights management company Muserk as head of business development APAC. He will oversee the company’s business throughout the Asia-Pacific region. Based in Tokyo, Mair developed a relationship with Muserk via his company Music Solutions, which develops brand partnerships and VIP packages for artists touring Asia. He can be reached at sebastian.mair@muserk.com.

Metal label Nuclear Blast Records restructured its A&R department, promoting Nathan Barley Phillips and Shawn Keith to head of A&R, Europe and head of A&R, North America, respectively. Elsewhere, Tommy Jones was promoted to label manager, North America, which includes A&R responsibilities for Nuclear Blast’s existing roster in the region. A&R Jens Prueter was also named to the newly created role of head of catalogue/senior A&R. The label was acquired by Believe in 2018. Keith can be reached at Shawn@nuclearblastusa.com.

Jen Hubbard was appointed to the newly created role of director of sync A&R at Concord Music Publishing, where she will develop and manage Concord’s U.S. songwriter roster for the purpose of synch activity. She will serve as the bridge between the company’s A&R and synch teams. Based in Nashville, Hubbard reports to senior vp of A&R Brad Kennard with support from vp of publishing sync Kourtney Kirkpatrick and executive vp of global sync Brooke Primont. Hubbard previously served as director of A&R.

Avery King, formerly director of publicity at Elicity PR, formed her own public relations firm, King Publicity. She brings her longtime clients Carter Faith, Aaron Watson, Austin Burke and Anna Rose to the new operation. King can be reached at avery@kingpublicity.com.

Steve Eckerson was named GM at ASM Global’s San Diego-based venue Pechanga Arena. He joins from Mechanics Bank Arena, Theater and Convention Center, where he’s served as GM since 2016. Eckerson succeeds Steve Tadlock in the role. He can be reached at SEckerson@pechangaarenasd.com.

UTA announced the promotions of several staffers in its music division. Sean Hendrie was elevated to agent while Jack Benson, Eli Hanavan, Maria Kanatous, Elie Low, Cassie Trimble and Sydney Wilke were upped to coordinators.

Boygenius Scores First No. 1 Song With ‘Not Strong Enough’

The first No. 1 for boygenius on a Billboard songs chart is “Not Strong Enough,” which lifts to the top of the Adult Alternative Airplay tally dated June 3.

The track also marks the first trip to No. 1 on an airplay ranking for each member of the three-piece band, featuring Julien Baker, Phoebe Bridgers and Lucy Dacus.

As soloists, Bridgers boasts the best rank of the group on the chart, thanks to “Sidelines,” which hit No. 12 in July 2022. Dacus has reached a No. 13 best in September 2021 with “Brando,” followed by Baker with “Faith Healer” (No. 14, March 2021).

Concurrently, “Not Strong Enough” jumps into the top 20 of Alternative Airplay (23-20). It’s the first top 20 entry for the group; Bridgers reached No. 25 with “Kyoto” in February 2021.

On the all-rock-format, audience-based Rock & Alternative Airplay chart, “Not Strong Enough” lifts 15-14 with 2.2 million audience impressions May 19-25, according to Luminate.

On the most recently published, May 27-dated multi-metric Hot Rock & Alternative Songs survey, “Not Strong Enough” ranked at its No. 29 high. In addition to its radio airplay, the song earned 1.4 million official U.S. streams May 12-18.

The Record, boygenius’ debut full-length album, which includes “Not Strong Enough,” bowed at No. 1 on the Top Rock Albums chart dated April 15 and has earned 162,000 equivalent album units to date.

The set also started at No. 4 on the all-genre Billboard 200. “We were told, if we were lucky, maybe we were going to break top 10. And then it was, actually, maybe we could break top five,” Dacus recently told Billboard, noting that Bridgers shared the news of the LP’s debut rank as they were practicing. “We celebrated by playing the songs.”

All June 3-dated Billboard charts will update on Billboard.com on Wednesday, May 31.

How Miguel’s ‘Sure Thing’ Topped Pop Airplay — 12 Years After Its First Chart Run

In early 2011, Miguel was a rising R&B singer who had just released his debut album, All I Want Is You, and was seeing his single “Sure Thing” gain traction on the R&B/Hip-Hop Airplay chart. The song would eventually reach No. 1 that May, while also climbing to the summit of Hot R&B/Hip-Hop Songs and peaking at No. 36 on the Hot 100, where it spent 23 weeks between March and August, when it fell from the chart. After 59 weeks on Hot R&B/Hip-Hop Songs, it eventually fell from that chart in 2012.

And that was the extent of its chart run — until this year, when a TikTok trend led to an explosion in streams, catapulting it back onto the charts — and to entirely new territory. Earlier this month, “Sure Thing” broke the record for most weeks on the Hot R&B/Hip-Hop Songs chart at 76 (it is now at 78), and this week it achieved a mainstream crossover, 12 years after its initial debut on the charts, by reaching No. 1 on Pop Airplay, the longest trip to the top of that chart from a song’s release in history.

It’s the latest example of older songs being reinvigorated and reaching new chart heights in recent months, following The Weeknd’s “Die For You” (after a remix featuring Ariana Grande) and Lady Gaga’s “Bloody Mary,” which also benefited from a TikTok trend. And it helps RCA senior vp of digital marketing Tarek Al-Hamdouni earn the title of Billboard’s Executive of the Week.

Here, Al-Hamdouni explains how the track came back after such a long break, and how RCA helped spur it into a new realm. “We know activity can spring up at a moment’s notice, and when it does, the best labels are able to move quickly and turn a spark into a flame before it goes out,” Al-Hamdouni says.

This week, Miguel’s “Sure Thing” reached No. 1 on Billboard’s Pop Airplay chart, 12 years after its initial chart run. What key decisions did you make to help make that happen?

The climb to No. 1 began in November of 2022 when we first saw the signs of organic growth and engagement on “Sure Thing” across socials and streaming services. The first major decision came in us validating the opportunity and investing in sustaining the activity across TikTok, Reels, Shorts & Snapchat. The initial goal was to “see how far we could take the trend,” knowing every jump in creations and streams was broadening our listener base and building familiarity, which would eventually result in bigger opportunities.

Miguel

Miguel attends the 65th GRAMMY Awards on February 05, 2023 in Los Angeles, California.

Matt Winkelmeyer/GI for The Recording Academy

We knew the record was already a favorite among fans since its release, but the key component to this new activity is that it was coming from new listeners. This led us to make the key decision to treat “Sure Thing” as a new record in our marketing efforts, also giving us the new task of turning listeners into fans. To connect the dots, we worked closely with Miguel — who deserves all the credit in the world for leaning in with curiosity, passion and optimism around this new activity — to start to engage with fans and content across socials.

Our promotion team did a fantastic job in following along with all the activity we were generating and timed their impact such that we were already receiving pull from the markets and stations. The last key decision I’ll offer up is the move to leverage the activity around “Sure Thing” to prime the market for new music from Miguel, something that we kicked off with his new single, “Give It To Me.”

In its original run, the song was an R&B/Hip-Hop Airplay hit. Why did the song work at Pop radio this time around?

I think the beauty of an artist like Miguel is that he’s always been ahead of his time. While often thrown into the “R&B” box, his music and artistry have always pulled from diverse corners of the music spectrum. And when you look at the freedom streaming has given Gen Z to bounce from record to record and genre to genre with such ease, it’s no wonder they gravitate towards a forward-thinking artist like Miguel.

It’s also worth noting that the dynamic between data and radio has strengthened at a rapid pace over the last few years. This has given us the opportunity to build our case in advance of an impact, showing the audience potential and, in a lot of ways, letting the story and streams reach critical mass with core Gen Z music fans before taking it to the broader audiences that only radio can reach.

The song’s resurgence originated on TikTok with a sped-up version. How did that come about? How often are these sped-up versions of tracks spawning new life for songs?

The sped-up version of “Sure Thing” emerged purely as organic UGC on TikTok. It wasn’t necessarily a surprise to see the activity come from such an edit, as sped-up sounds have been a trend on TikTok and across UGC for quite some time now. That said, I do think it’s fair to say that sped-up sounds hit a bit of critical mass in early 2023 as we started to see platforms like TikTok create specific playlists centered around the phenomenon, all of which gave us more editorial placements and ways for Miguel to lean in.

The opportunities to breathe new life into a record through a sped-up sound are plentiful, but it’s important to note the viral success of a record like “Sure Thing” is still a huge outlier in terms of how much effect a campaign could have. At this point, I expect most singles to be accompanied by a sped-up version at some point in their life cycle.

This is the latest example of an older track coming back to be a force at radio and in pop culture — something that almost never used to happen. Are you guys increasingly focused on working catalog songs in a similar manner to new songs?

We don’t focus solely on the “catalog” aspect of any record at this point as much as we’re focused on using the influx of data we receive from social and streaming platforms to ensure we never miss an opportunity. We know activity can spring up at a moment’s notice, and when it does, the best labels are able to move quickly and turn a spark into a flame before it goes out.

The reliance on data is important because our core mission as marketers is to create this activity and engagement out of the gate. By collaborating with our internal data teams, we can build tools to monitor the key aspects we believe drive streaming growth while spending the majority of our time and energy collaborating with our artists and building next-level marketing campaigns.

Although to be fair, I think the rediscovery of music by the next generation of listeners is something that has happened for quite some time. Prior to shortform video, syncs played a huge role in this rediscovery, going back to examples like Nick Drake’s “Pink Moon” in Volkswagen’s 2000 Cabrio commercial to the much more recent lift of Kate Bush’s “Running Up That Hill” off the back of its inclusion in season four of Stranger Things.

The song also broke the record for most weeks ever spent on Hot R&B/Hip-Hop Songs, now at 78. How did you help market the track beyond radio and TikTok?

Outside of those two platforms, we worked to ensure this record and Miguel’s content was spread far and wide across the internet. We built custom campaigns for Instagram and YouTube, we drove awareness and engagement through savvy ad spends and boost campaigns. And we worked closely with media accounts and press outlets to drive consistent presence in front of a wide range of audiences.

What have you learned from the song’s surprise success that you can use moving forward on other projects and songs?

When you zoom out far enough, you start to see that the equation we’re chasing with a resurgence is new context for a great record with a new, young and engaged audience. Additionally, the benefits of driving engagement through a catalog record doesn’t require the type of success we’re seeing on Miguel to be meaningful. Going forward, we see this as a key way to drive engagement and build demand for new music for any artist with an established catalog.

Previous Executive of the Week: Corey Calder of APG

Queer Jams of the Week: New Music From Arlo Parks, Demi Lovato, Hayley Kiyoko & More

With Pride less than a week away, freshen up your playlists with some new songs from your favorite queer artists. Billboard Pride is proud to present the latest edition of Queer Jams of the Week, our roundup of some of the best new music releases from LGBTQ artists.

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See latest videos, charts and news

See latest videos, charts and news

From Arlo Parks’ long-awaited new album, to Demi Lovato’s rocked-out version of a fab-favorite track, check out just a few of our favorite releases from this week below:

Arlo Parks, My Soft Machine

For all of the talk of your 20s being “the best years of your life,”rising alternative star Arlo Parks has a slightly different take. With My Soft Machine, her sophomore album, the UK artist floats between existential dread over the ending of relationships (“Weightless,” “I’m Sorry”) and introspective musings on self-worth (“Impurities,” “Devotion”), all done with an eclectic blend of dream-pop and rock to form a singularly fascinating project. It’s a further testament to Parks’ inimitable talent and vision that My Soft Machine stands firmly as a distinctive, moving body of work, even in the wake of an album as lauded as Collapsed in Sunbeams.

Demi Lovato, “Cool for the Summer (Rock Version)”

After reimagining her much-beloved song “Heart Attack” as a rock anthem earlier this year, Demi Lovato is ready to give you more. This time around, they’re taking their warm-weather ditty “Cool for the Summer” and amping up the intensity. With raging guitars, pounding drums and an all new set of vocal tracks, the song is radically transformed into an edgy, gritty pop-punk single worthy of Lovato’s latest musical era.

Hayley Kiyoko, “Greenlight”

Hayley Kiyoko is tired of waiting for permission to live her life — so she’s giving herself the “Greenlight” on her latest single. Co-written with pop luminary Jesse St. John, the new track from Lesbian Jesus keeps her streak of life-affirming pop singles alive, playing with delicious falsetto while accompanied by stacked synths and a steady bass line. Be warned, though; once you press play, you’ll “wanna keep goin’ and goin’,” as Kiyoko says.

Towa Bird, “Boomerang”

Living in a long distance relationship is maddening, as rising singer-guitarist Towa Bird can attest. On her latest single “Boomerang,” Bird agonizes about the “separation anxiety” of being in L.A. with a girlfriend in New York — sure, she knows she’ll see her soon, but that doesn’t make the time in between any easier. Punctuated with some excellent garage-rock sounds, and you’ve got a theme song for the frustration of loving long distance on your hands.

Miya Folick, Roach

To say that Miya Folick’s new album Roach is about any one thing in particular is to largely miss the point of its construction. With this wide-ranging, often-chaotic sophmore album, the alt-pop singer instead takes a scattershot approach when it comes to subject matter — whether that’s serene self-reflection (“So Clear,”) bitter anger (“Cockroach”) or familial dynamics (“Mommy”). The most consistent thing about this extensive project is the top-tier quality, keeping you invested for the entirety of its 42-minute runtime.

Cat Burns, “You Don’t Love Me Anymore”

There are a plethora of reasons why a relationship might end — Cat Burns is simply asking her ex to give her one. On “You Don’t Love Me Anymore,” the UK up-and-comer begs her former lover to “list all my baggage,” or “drag my ego to the floor” rather than use the song’s dreaded title when describing why their relationship has to end. It’s a heartbreaking song made even more gutwrenching by how endlessly relatable it is.

Royal & the Serpent, “One Nation Underdogs”

If you’re planning on protesting the seemingly endless onslaught of anti-LGBTQ bills being proposed around the country this Pride Month, then Royal & the Serpent has just the song to soundtrack your demonstration. “One Nation Underdogs” speaks directly to our current dark moment in history, throwing a defiant middle finger in the face of right-wing politicians, offering this grinning kiss-off in response to their attacks: “There’s more of us and less of you/ We’re the future where you fell off.”

Jeffrey Eli, “Sleeping Beauty”

If you somehow haven’t heard Jeffrey Eli’s haunting voice on TikTok, now is the time to remedy that situation. With his latest release “Sleeping Beauty,” Eli claims his space and plays with the fluidity of his ridiculous range to drive home a point. Examining his own childhood, Eli deconstructs the gender binary right before our eyes — and the moment he’s done so, you’ll realize that the music followed perfectly along the journey, building into a glorious explosion of sound. Seriously, if you haven’t listened to Jeffrey Eli, stop reading this and go listen.

Check out all of our picks on Billboard’s Queer Jams of the Week playlist below: