Author: djfrosty
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In 2025, artists from the indie and pop worlds collaborate and co-mingle regularly enough that it’s almost hard to remember a time when it was ever really that novel. But earlier this century, indie and pop were still isolated enough that in 2009, when Solange took her sister Beyoncé and Bey’s husband Jay-Z to a […]
The music business needs a hug…and a punch to the gut.
As someone who cares deeply about mental health, wellness and supporting people in need, my intentions with this letter come from the purest place of love and empathy. But if I’ve learned anything from my time in the music industry — it’s to be direct. Today, I’m calling for more consistent, accessible personal and professional development support for the people who keep the music industry’s wheels turning. These include things like leadership and communication training, adaptability and resiliency coaching and a basic understanding of emotional intelligence. We cannot have a healthy industry inhabited by healthy humans without the intersection of mental health and professional and personal development. We need to move beyond just checking boxes for things that look good on paper, but do not actually impact those owning the day-to-day operations of our business. It’s unsustainable long-term. What good are resources if the business itself doesn’t support their use? How can we seriously promote wellness while maintaining conditions within the workplace that undermine it? The need to invest in both our well-being and create healthier work environments is becoming dire as we navigate unprecedented mergers and acquisitions, rampant layoffs due to our ever-evolving business, and an increasingly competitive landscape that shows no signs of slowing down.
To start, we could benefit from operating with less ego and more empathy. Leaders can always strive to be better decision-makers and communicators, with a focus on humility and understanding for their teams and partners. They hold the power to make change, but also face immense pressure, and we need to support them in guiding the industry. We also need more people who genuinely care about human growth, and are equipped to fight for changing outdated systems.
These precursors are required to address what our artists are expressing on stage at award shows and what professionals are discussing off the record over dinner. I can’t speak for everyone, but I can speak for the hundreds of people I’ve met over the past five years, including those who attend our jump.global Annual Summit, where we host open forums on these critical topics. Yes, we’re good at calling this all “mental health,” and to some extent, it fits under that umbrella. But it’s so much more than that. It’s dealing with the real-life effects of endless company reorgs, constant performance critiques, burnout from the grind, lack of healthy work-life boundaries and an industry that prioritizes making money without making sure its people are happy with their personal growth.
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These aren’t new revelations. The industry has long been criticized for its broken promises and dehumanizing culture, but we’ve reached a tipping point. People are mentally and physically exhausted, overwhelmed by constant fatigue and the whiplash of relentless demands. They are caught between morning meditation and breathwork sessions, only to be thrown into the chaos of endless emails and unclear paths to advancement. It’s real, and it’s widespread, impacting every part of our personal and professional lives. The music industry must embrace the people who have always been its heart and soul — artists, fans and workers alike. It’s time to nurture the relationships that sustain it, offering the support, care, and recognition that has often been overlooked, and ensure that everyone involved feels valued, heard, and connected. It needs to become so systemic that it’s as common as composing an email or pitching a release. Are we truly listening to the feedback of our teams as much as we are to the charts? If we put people over profit, we can turn this around — but without this shift, we risk burning out the very people who keep this industry alive.
This sentiment is echoed by the coaching community I’ve turned to for my own research and development. “When mental, physical and emotional health are prioritized as part of the fabric of an organization, company culture changes, people get more creative, productivity increases, communication improves, performance gets stronger,” says Marni Wandner, board-certified health coach, executive coach and 22-year music industry vet. “I work with both executives and artists, most of whom are trying to prevent burnout, or recover from it. When people are at their best, the whole industry benefits – and the way we take care of ourselves and each other affects the wellbeing and success of the artists.”
Outside of overall health, It’s important to note how much leadership training plays such a crucial role in all of this. “When we develop our leaders and prepare them well, they can manage their teams effectively and compassionately. We can create better work cultures, retain talent in the industry, reduce burnout and improve performance,” Tamara Gal-On and Remi Harris, UK-based coaches and Co-Founders of the Music Leaders Network, share in a joint statement.
Effective communication has also been identified as a crucial component of strong leadership. Tracey Pepper, a veteran media and public-speaking coach and certified personal coach, shares, “I work with high-level executives every week who are expected to inspire and motivate their teams, whether it’s sharing ideas or delivering feedback, but who have never sought support around developing their communication style. Yet, how they interact with colleagues and co-workers has a significant effect on company culture and, in turn, productivity. Being aware of how you’re impacting others by how you speak to them is a game-changer in leadership.”
I ask nearly everyone I meet about this disconnect, and the consensus is clear: our industry doesn’t necessarily lack awareness of how important professional and personal development resources can be, it lacks the time for people to properly dedicate themselves to it because of how intense and fast-paced their jobs can be. Without an immediate ROI, development often feels like a “luxury” that companies and people can’t afford or something we save for an end-of-year planning session. But what if we stopped viewing it that way and started treating it as the necessity it clearly is?
While I applaud any music company with Learning & Development programs already in place, I hope the journey doesn’t stop after one-off grants, seminars or annual workshops. We need to create ongoing learning environments where professionals are empowered with the tools to thrive personally and professionally. The strength of the business lies not just in the artists we promote or the music we create, but in the culture we nurture within our teams. Developing strong, emotionally intelligent humans that work in music isn’t just a nice-to-have — it’s critical for the long-term success and sustainability of the industry. “What is emotional intelligence?” is a fun one to type into ChatGPT, and then compare back to the music business.
Of course, there has been discussion and debate over whose responsibility it is to provide tools in these areas. To be fair, I think it’s everyone’s collective responsibility. Thankfully, generous programs and organizations are already leading the charge to end stigmas and provide essential resources, research and guidance. Again, while much of the headlines focus on mental health, a lot of them work intersectionally through all the areas I mentioned. Backline, Music Industry Therapist Collective, Music Health Alliance, MusiCares, Amber Health, Keychange and numerous coaches and therapists are making a lasting impact and creating meaningful, sustainable change in the industry. We owe a lot to these organizations, as well as those leading ongoing efforts in diversity, equity, inclusion, gender parity, fighting ageism and supporting neurodivergent education.
That said, there is always more that can be done and this is an invitation for all of us to do our part if you are not already. While innovating and commercializing music, we must also dismantle outdated systems and create forward-thinking support for both creatives and the workforce. As we work to heal the world with music, we must first extend that same care to those who make it all possible. Through compassion, empathy and kindness, we can do this.
We are all human, and no matter our title, company, or paycheck we all can, and will, benefit from these changes. To the artist managers who just lost their biggest client, the marketing directors struggling to juggle 20 releases, the people who have devoted their lives to a role only to see it eliminated, the CEO who ascended the corporate ladder only to be knocked back down and to anyone who has ever felt unseen, unsupported, or confused by the industry they love … I see you. This is why we need systemic change that supports you consistently, not just when it becomes impossible to ignore. Whether it’s implementing a new way to foster open communication within your department or simply gifting a coaching session to a colleague – we can all work together to shape more resilient cultures.
So, dear music business humans, I hope you’ll accept this hug and pass it on to the friends you’ve made along the way, the teams you manage, the interns you inspire, the artists you collaborate with and those you’ve yet to meet. To all of the music business-at-large, the gut punches may feel like love taps, but I promise you they carry enough weight to impact your bottom line — today or tomorrow.
With immense love, gratitude and concern,
Nick Maiale
Nick Maiale is the founder & CEO of jump.global – an agency solution for music executives and companies looking to grow their influence through B2B trade marketing, conferences & panels, international relations, college mentorship and more. He is studying to become a certified executive coach with a mission to bring more personal and professional development events, such as the jump.global Annual Summit, to the music business masses.

Sabrina Carpenter‘s tour just got less short and a lot sweeter. On Thursday (Feb. 27), the pop star announced that she’s circling back to North America for a slew of extra dates on her ongoing Short n’ Sweet trek, kicking off this fall. In an Instagram post sharing the new shows, Carpenter wrote, “you asked […]
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Two teenagers were tragically killed in Atlanta, and the police are pointing fingers at rapper Lil Baby for filming a music video on a rival gang’s turf.
According to the Atlanta Police Department, the violent incident was triggered by Lil Baby’s decision to shoot his video in a neighborhood where tensions were already high. The cops believe this move led directly to the senseless deaths of Lamont Freeman, just 13 years old, and another victim. They claim Lamont was only allowed to be a kid for 27 minutes before gang violence took his life.
While the police haven’t directly named Lil Baby in their statement, his connection to the video shoot has been widely reported. The Atlanta Police Department is making it clear that the violence was fueled by grown adults and gang members, with Baby’s presence in the area sparking the deadly chain of events. The police called it a cowardly act, blaming the rapper for putting himself and others in a place he knew he shouldn’t have been.
This situation is shining a light on the way rappers, especially those with massive influence, interact with the communities they film in. While Lil Baby hasn’t publicly responded to the allegations, the incident is raising serious questions about the responsibility of artists when it comes to the neighborhoods they represent in their work. The investigation is still ongoing, and more details will be coming out as the story develops.
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Daredevil: Born Again hasn’t even premiered on Disney+ yet, but Marvel is already looking towards the future of one of its most prominent characters and have committed to bringing back a fan favorite ass-kicking classic antihero.
According to Entertainment Weekly, Jon Bernthal’s The Punisher will be returning with his own one-shot story in the near future after he makes his long-awaited return in Daredevil: Born Again. Much in the vein of Werewolf by Night and The Guardians of the Galaxy Holiday, the one-time special should be a bloody affair, as we all know Frank Castle aka The Punisher lives to hurt and kill his Ops. With word that the new Daredevil series is actually more violent than its predecessors, a Punisher one-off should be taking the ultraviolence sequences to another level.
Per Entertainment Weekly:
Bernthal is also writing the script with his We Own This City director Reinaldo Marcus Green, who will helm this standalone special. “It’s like a shotgun blast of a story, but also has all the pathos and emotion that you want out of a Frank Castle story,” Brad Winderbaum, the head of Marvel Television, tells EW. “It’s so exciting.”
Winderbaum tells EW the story concept for the Punisher special came while filming season 1 of Daredevil: Born Again, which will premiere two episodes on Disney+ this March 4. On that show, Charlie Cox’s Matt Murdock goes to Frank “because he needs something done that he’s unwilling to do,” Winderbaum previously teased. “And Frank, a bull in a china shop, drives right to the heart of the matter.”
“Bernthal is a generational actor,” Winderbaum says. “He’s incredible what he brings to all the roles he plays, but particularly Frank Castle. And he’s a great writer. He knows the character inside and out…. Also, I love Punisher, but I love Jon’s Punisher in particular. The idea that he’s in the MCU and can bring that to the greater universe, especially the more grounded street-level stuff, is a huge opportunity and, as a fan, the greatest thing ever.”
We. Can’t. Wait.
While we don’t know how big of a role The Punisher will have in Born Again, we know he’ll be helping the Man With No Fear dish out some harsh justice on the streets of New York, and we’re all for it. Where he goes from there will probably be explored in the new Punisher special (unless it’s a prequel of sorts) and hopefully we’ll get some cameos from some of his fellow vigilantes in the Big Apple. Luke Cage maybe? One can only hope, right?
What do y’all think about The Punisher getting his own one-time story? Should it be a series? Let us know in the comments section below.
Little Simz has kicked off her 2025 with the release of a mighty new single, “Flood,” and announced her upcoming sixth album, Lotus.
The new album will be released on May 9 via AWAL, and will be her first studio LP since 2022’s No Thank You.
Featuring vocals from both Obongjayar and Moonchild Sanelly, the lead track marks the first slice of new material from Simz this year. It arrives accompanied by a striking video, which was directed by Salomon Ligthelm.
In February 2024, Simz put out her Drop 7 EP, which was followed by surprise single “Hello, Hi” in December. Throughout the year, she also made a slew of guest appearances on other artists’ tracks: Coldplay’s “We Pray,” Sampha’s “Satellite Business 2.0” and Wretch 32’s “Black and British.” In June, she appeared on the Pyramid Stage at Glastonbury, marking her biggest show to date.
More recently, Simz was nominated in the hip-hop/rap/grime category at The BRITs 2025, which will take place at London’s O2 Arena Saturday (March 1). She has previously triumphed at the awards ceremony, scooping the best new artist gong in 2022.
In January, it was announced that the 31-year-old will curate this year’s Meltdown Festival at the capital’s Southbank Centre. Taking place between June 12-22, the event will see Simz craft a wide-ranging bill of music, art and workshops across 11 nights, with the full lineup expected to arrive soon.
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Across the course of an illustrious career, Simz has released five studio albums, among a wealth of mixtapes and extended projects. In 2022, she won the Mercury Prize for her fourth LP Sometimes I Might Be Introvert – her highest charting record in the U.K. to date, landing at No. 4 upon release.
When the Oscars announced that this year’s nominees for best original song would not be performed on the telecast, but that there would instead be a single spot focused on the songwriters of those songs, some feared that music would get short shrift on the annual awards show, which airs Sunday, March 2, from the Dolby Theatre at Ovation Hollywood. Subsequent announcements have proved that this is not the case.
Six powerhouse women – Doja Cat, Cynthia Erivo, Ariana Grande, LISA of BLACKPINK, Queen Latifah and RAYE – will perform on the telecast. The show also will feature a special appearance by the Los Angeles Master Chorale.
Erivo and Grande, who are both nominated for their roles in Wicked, are expected to open the telecast with one or more songs from that blockbuster musical. Queen Latifah is set to take part in a tribute to Quincy Jones, who died in November at age 91. Latifah, a longtime friend of the music and film titan, performed on two tracks on his 1995 album Q’s Jook Joint.
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The other women are expected to participate in “performances celebrating the filmmaking community and some of its legends.”
“There are special moments that are planned and it’s about music, it’s about celebration, it’s about celebrating some really amazing pieces of film and even a Governor’s Award with Quincy Jones,” the show’s executive producer and showrunner Raj Kapoor said in a Zoom press conference with the creative team on Wednesday (Feb. 26). “The music performances are just really special and curated this year. And I think they speak to this year in film, and they also speak to icons and legends.”
But Kapoor didn’t want to divulge too much about the show. “I mean we absolutely love the element of surprise. What I can say is [that even with] every presenter and every performer that’s already been announced, there’s still more to come. There are people that are not going to be announced,” he teased. “You will have to keep a sharp eye out for a few different cameos that happen throughout the evening.”
Kapoor said the show will have a couple of themes. “One is that we are honoring the city of Los Angeles. … We really wanted to create some really beautiful moments on stage that celebrate this amazing city that we live in, all the amazing films that have been filmed here, and just have a really uplifting and beautiful message that we hope really touches everybody who watches the show.
Supervising choreographer Mandy Moore said they will aim to recapture some of the excitement of last year’s show-stopping Ryan Gosling performance of “I’m Just Ken.” “I can definitely say if you liked Kenergy, you’re going to love everything we’re doing this year because it’s in the same vein of joy and celebration.”
RAYE performed her song “Oscar Winning Tears,” from her album My 21st Century Blues, on the Grammy telecast on Feb. 2, where she was a best new artist nominee. Kapoor was an executive producer of that show as well.
Last year’s Oscar winners in the four acting categories – Cillian Murphy, Emma Stone, Robert Downey Jr. and Da’Vine Joy Randolph – were the first presenters announced for this year’s show.
Selena Gomez and Zoe Saldaña, two of the stars of Emilia Pérez; Ben Stiller; and Joe Alwyn, one of the stars of The Brutalist (though probably still best known as Taylor Swift’s ex) have since been added to the list of presenters. This will be Gomez’s first appearance on the Oscars stage. Other presenters range from 25-year-old starlet Lily-Rose Depp (daughter of Johnny Depp and Vanessa Paradis) to 95-year old character actress June Squibb.
Conan O’Brien will host the telecast for the first time. Nick Offerman will serve as announcer.
The 2025 Oscars will air live on ABC and stream live on Hulu on Sunday, March 2, at 7 p.m. ET/4 p.m. PT, with the official live red carpet show airing at 6:30 p.m. ET/3:30 p.m. PT.
Here are the performers and presenters for the 2025 Oscars.
Performers
Doja Cat
Cynthia Erivo
Ariana Grande
LISA of Blackpink
Queen Latifah (Quincy Jones tribute)
RAYE
Presenters
Joe Alwyn
Dave Bautista
Halle Berry
Sterling K. Brown
Penélope Cruz
Willem Dafoe
Ana de Armas
Lily-Rose Depp
Robert Downey Jr.
Elle Fanning
Harrison Ford
Gal Gadot
Andrew Garfield
Whoopi Goldberg
Selena Gomez
Goldie Hawn
Samuel L. Jackson
Scarlett Johansson
John Lithgow
Cillian Murphy
Connie Nielsen
Amy Poehler
Margaret Qualley
Da’Vine Joy Randolph
Alba Rohrwacher
Zoe Saldaña
June Squibb
Ben Stiller
Emma Stone
Oprah Winfrey
Bowen Yang
Rachel Zegler
Crypto proponent Snoop Dogg is officially partnering with Tune. FM as the face of the Web3 music streaming platform, Billboard can exclusively report. The first project being streamed under the new partnership is the newly released single “Spaceship Party.”
The rapper/entrepreneur also plans to move more of his catalog, including his Death Row Records material, to Tune.FM.
In publicly announcing the switch, Snoop bluntly states in a comment given to Billboard, “I don’t f**k with Spotify anymore. I’m only on Tune.FM.”
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Tune.FM styles itself as a decentralized Web3 streaming platform focusing on transparency, security and fairness for artists through blockchain technology. The platform’s native cryptocurrency is something called JAM. Unlike traditional services, it says it provides instant micropayments per second streamed. Users can sign up and start streaming without needing blockchain knowledge. Upon registration, a JAM wallet is automatically created, allowing users to spend JAM tokens on streaming, tipping artists and unlocking exclusive content.
Tune.FM says its AI-driven discovery algorithm promotes independent artists organically, bypassing paid placements. Additionally, artists can tokenize music rights, allowing fans to invest and earn royalties.
Snoop Dogg’s decision to partner with the platform came after meeting Tune.FM founder/CEO Andrew Antar at the Crypto Ball prior to President Trump’s inauguration in January.
“We are thrilled to welcome Snoop Dogg as the face of Tune.FM,” Antar tells Billboard. “Snoop is the OG pioneer who is always on the cutting edge of technology and new ways of doing business. He totally gets it, and we are ready to take on the world together.” A classically trained musician, Antar also plays violin on “Spaceship Party.”
Tune.FM
Cordell Broadus
Beyond moving his catalog to Tune.FM, Snoop Dogg is planning to host fan experiences and giveaways such as a private event at his house and VIP prize tiers. Additional plans include integrating Tune.FM into live events and exclusive concerts, as well as bringing unique artist-fan interactions and collectibles to the platform’s marketplace.
Tune.FM is also in talks with major labels (Universal, Sony), major distributors and high-profile artists to bring more exclusive content to the platform. According to a Tune.FM spokesperson, “Tune.FM operates under non-exclusive licensing agreements, enabling us to unlock new revenue streams for under-monetized catalogs and artist IP on both our streaming platform and marketplace.”
The rep declined to disclose specifics about any deals, but added, “we can share that major distributors and labels are increasingly coming on board to upload catalogs that have long been under-monetized.”

Taylor Lautner has no time for your body-shaming hate speech. The Twilight actor posted an Instagram Story on Wednesday (Feb. 26) in which he hit out at recent cruel comments about Selena Gomez that were re-posted influencer Alex Light. The British podcaster and body positivity advocate shared a before-and-after shot of the singer/actress that included harsh internet comments about Sel’s weight alongside her own statement about the “impossible” beauty standards society puts on women in the spotlight.
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While Light’s caption leaned into the theme of “out bodies are ours, not up for public discussion,” the inclusion of a round-up of unkind online statement’s about Gomez’s fluctuating weight appeared to set Lautner off.
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“It’s a cruel world full of hate out there,” wrote the actor, who in 2023 opened up on his podcast The Squeeze about how the focus on his physique during his Twilight years has had a lasting effect on his body image. “You can never please everyone nor should you have to. In my experience it doesn’t make the words sting less, it just refocuses you onto what matters,” Lautner continued. ” And it sure isn’t the shape, color or appearance of your body. Daily reminder to all of us to not forget how beautiful you are inside and out…and be a little bit nicer.”
Lautner’s post was cued to the 2011 Selena Gomez & the Scene song “Who Says,” which features the empowering lyrics: “I wouldn’t want to be anybody else/ You made me insecure/ Told me I wasn’t good enough/ But who are you to judge?/ When you’re a diamond in the rough.”
Gomez has repeatedly knocked down body shaming comments during her career, including speaking about her “weight fluctuation” following a 2015 lupus diagnosis and a kidney transplant in 2017 in a 2023 TikTok Live post addressing critiques of her body.
As a result of the diagnosis and other health struggles, Gomez explained in the Live that her medication causes her to hold on to water weight. “And that happens very normally,” she said at the time. “And then when I’m off of it I tend to kind of lose weight.” She also shared a positive message with her fans about their inner beauty and her focus on health first.
“I just want people to know that you’re beautiful and you’re wonderful,” Gomez told fans. “And yeah we have days where maybe we feel like s–t but I would much rather be healthy and take care of myself and my medications are important and I believe they are what helps me. So, yeah, not a model, never will be. And I think they’re awesome, mind you, I just, I’m definitely not that.”
You can see Light’s original post here.
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Shareholders at Apple rejected a proposal to end its diversity, equity, and inclusion program despite pressure from Republicans and President Donald Trump.
On Tuesday (Feb. 25), shareholders at Apple voted to reject a proposal to end the tech giant’s diversity, equity, and inclusion program. The proposal was presented by the conservative think tank known as The National Center for Public Policy Research. The group was hoping to coerce Apple to eliminate its DEI policies, using the agenda of President Donald Trump as an example to follow. The final tally was 8.84 billion votes to reject the proposal, with 210.45 million votes for it.
“We’ve never had quotas or targets for Apple. Our strength has always come from hiring the very best people and then providing a culture of collaboration, one where people with diverse backgrounds and perspectives come together to innovate,” Apple CEO Tim Cook said in a question and answer session at the meeting. He did acknowledge the pressures from Trump and other GOP supporters, adding that “as the legal landscape around these issues evolves, we may need to make some changes to comply, but our North Star of dignity and respect for everyone and our work to that end will never waver.” Apple disclosed in 2022 that three-fourths of its workforce were white and Asian, and two-thirds of the workforce were men. Its DEI policies are concentrated on initiatives that aid Black entrepreneurs and others of color, created in the wake of the killings of George Floyd and Breonna Taylor in 2020.
The National Center for Public Policy Research also presented a similar proposal to Costco Wholesale last month, which the shopping giant also rejected strongly. Despite companies such as Meta and Google rolling back some of their DEI initiatives, it’s estimated that roughly half of the corporate leaders surveyed since Jan. 20 about eliminating those programs are not planning to follow suit.
President Trump wasn’t pleased with Apple’s decision, blasting them in a Truth Social post: “Apple should get rid of DEI rules, not just make adjustments to them. DEI was a hoax that has been very bad for our country. DEI is gone!!!” The National Center for Public Policy Research’s proposal to Apple cautioned that they could be subject to lawsuits by the Trump administration, but Cook signaled that Apple is forming legal protections.