djfrosty

So!YoOn! Shares Rapid-Fire ‘Smoke Sprite’ Teaser With RM of BTS: Watch

RM is on a brand-new song, and BTS ARMY has So!YoON! to thank.

On Thursday (March 9), So!YoON! — Hwang So-yoon of South Korean indie rock band SE SO NEON — released a teaser for her forthcoming track “Smoke Sprite,” which the BTS star briefly appears in. Several moments from the video play out in rapid succession, with a quick scene of RM and So!YoON! standing back-to-back flashing by, while a high-energy snippet of the song plays in the background. Closing out the 10-second video is a black screen with white text informing fans of when the collaboration is scheduled to arrive: Tuesday, March 14, at 6 p.m. KST, or 4 a.m. ET.

RM’s new collaboration comes on the heels of his recently released solo album Indigo. The project, which arrived in December, peaked at No. 3 on the Billboard 200 and allowed RM to become the highest-charting K-pop soloist, as well as the only K-pop soloist ever to reach the top five of the all-genre albums chart. The BTS rapper earned the honors after the LP moved 83,000 equivalent album units for the week ending in Dec. 22, according to Luminate.

The collab is one the latest endeavors afoot for the BTS boys. Jimin is scheduled to release his solo debut album, FACE, on March 24, while Suga will embark on his Agust D Tour in April.

Watch the teaser for “Smoke Sprite” in the video above.

J-Hope TikTok Challenge, Jisoo’s Solo Album Details, TWICE Roblox Debut & More | Billboard News

BTS’ J-Hope’s new track with J. Cole has sparked a new TikTok challenge, BlackPink’s Jisoo reveals more about her highly anticipated upcoming solo project, and the ladies of TWICE are getting their own world on Roblox. We preview both our interviews with Feid and Curren$y.

10 Rare Celebrity Barbie Dolls That Are Perfect for Music Lovers & Collectors

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

Happy National Barbie Day! The iconic, 11-inch doll, named after Barbie inventor Ruth Handler’s daughter Barbara, made its debut at the American International Toy Fair in New York City on March 9, 1959.

Explore

Explore

See latest videos, charts and news

See latest videos, charts and news

In honor of Barbie’s undeniable impact, we put together a list of celebrity Barbies to collect. Vintage Barbies are big business and can fetch tens of thousands of dollars depending on the condition, the rarity of the doll and when it was released. So, celebrate Barbie’s birthday with dolls that are perfect for music lovers and collectors alike.

See the list below and click here for more collectibles.

Amazon

Barbie 80’s Cher Bob Mackie Doll

$213.87 $233.24 8% OFF

This vintage Cher Barbie features ‘80s Cher with cascading curls and the legendary Bob Mackie outfit worn in her “If I Could Turn Back Time” music video. If you can’t get enough Cher, you might also like this Barbie Cher Doll Timeless Treasures Collector’s Edition ($214.95).

Tina Turner doll

Mattel’s new Barbie Tina Turner doll

Courtesy of Mattel

Barbie Signature Tina Turner Barbie

$78

Released last year, Tina Turner’s Barbie celebrates the 40th anniversary of “What’s Love Got to Do With It.” The doll is out of stock at Mattell.com but fans can find it online at Walmart, StockX and eBay.

Gloria Estefan Barbie

Mattel

Barbie Signature Gloria Estefan Barbie Doll in Gold and Black Fashion and Accessories

$33.55 $55.00 39% OFF

Mattel released the Gloria Estefan Barbie as a Birthday present for the the music icon last year. The doll commemorates Estefan’s 1989 hit “Get On Your Feet.”

Mattel/Jones Works

Barbie Signature David Bowie Doll (11.5-in, Red Hair) Posable,

$49.99 $55.00 9% OFF

Also released last year, the Barbie Signature David Bowie doll. The doll wears a replica of Bowie’s powder-blue suit from the “Life on Mars” music video.

Walmart

Brandy Barbie Doll

$58.50

Mattel released the Brandy Barbie Doll in 1999. At the time, Brandy had a hit series in Moesha and a hit album in Never Say Never. Brandy Barbies are still popular (she even has her own Instagram account). If you’re looking for a larger selection of Brandy Barbies, you can find them on eBay.

eBay

Barbie Loves Elvis Gift Set

$30

Barbie loves Elvis! This special collector’s set was released in 1996. Per the seller, the box is in good shape and has never been opened. Click here for more Elvis Barbies.

Amazon

Barbie Pink Label Collection Barbra Streisand Doll

$224.95 $340.00 34% OFF

This Barbra Streisand Barbie takes its design from the earlier days of the icon’s career. The doll is wearing a replica of Streisand’s iconic outfit that she wore at Hollywood’s Coconut Grove in 1963.

eBay

Faith Hill & Tim McGraw 2022 Barbie

$110

These Faith Hill & Tim McGraw Barbie dolls were initially released a decade ago in honor of the pair’s 15th wedding anniversary. This gift is perfect for a doll-collecting fan of the country duo.

Amazon

Barbie Collector: Martina McBride Doll

$65.87

It’s been over 20 years since Martina McBride’s Barbie made its debut. The doll sports a replica of McBride’s gown from the 39th Academy of Country Music Awards.

Amazon

Barbie Debbie Harry Ladies of The 80s Doll

$151.30

Who says punk goddesses don’t like Barbie? Debbie Harry’s Barbie was the first doll released in the Ladies of the ‘80s collection which includes Barbie dolls of Cyndi Lauper and Joan Jett.

Karol G Joins Yahritza Martinez as the Only Women to Rule Latin Songwriters Chart

Karol G jumps to No. 1 on Billboard’s Latin Songwriters chart (dated March 11), becoming just the second woman to rule the ranking.

The star leads for the first time thanks to a whopping 16 songwriting credits on the latest Hot Latin Songs chart, all via songs on her new LP Mañana Será Bonito. The album debuts at No. 1 on the Billboard 200, making history as the first all-Spanish-language leader by a woman. The only other all-Spanish-language No. 1 albums are Bad Bunny’s El Ultimo Tour del Mundo and Un Verano Sin Ti.

The only other woman to have hit No. 1 on Latin Songwriters is regional Mexican up-and-comer Yahritza Martinez, who tallied four weeks on top in April 2022 thanks to Yahritza y Su Esencia’s breakthrough single, “Soy El Unico.”

Here’s a recap of Karol G’s entries on the latest Hot Latin Songs chart:

Rank, Title
No. 1, “TQG,” with Shakira
No. 4, “X Si Volvemos,” with Romeo Santos
No. 8, “Mientras Me Curo del Cora”
No. 9, “Gucci Los Paños”
No. 10, “Tus Gafitas”
No. 11, “Gatúbela,” with Maldy
No. 13, “Cairo,” with Ovy on the Drums
No. 14, “Pero Tú,” with Quevedo
No. 16, “Ojos Ferrari,” with Justin Quiles & Ángel Dior
No. 17, “Besties”
No. 19, “Mañana Será Bonita,” with Carla Morrison
No. 24, “Amargura”
No. 25, “Karmika,” with Bad Gyal & Sean Paul
No. 26, “Mercurio”
No. 29, “Danamos Los Amistad”
No. 33, “Carolina”

In the history of the Hot Latin Songs chart, only Bad Bunny and Ozuna have charted at least 16 songs simultaneously. Bad Bunny holds the record for the most in one week: 24, on May 21, 2022, concurrent with the chart start for Un Verano Sin Ti.

On the latest Latin Producers chart, Ovy on the Drums returns to No. 1 for an 18th week on top, thanks to his production work on Mañana Será Bonito. The hitmaker produced 11 charting songs from the album (Nos. 1, 4, 6, 10, 13, 14, 16, 17, 24, 25 and 33). Only Tainy and MAG have spent more weeks at No. 1 on Latin Producers: 119 and 38, respectively.

The weekly Latin Songwriters and Latin Producers charts are based on total points accrued by a songwriter and producer, respectively, for each attributed song that appears on the Hot Latin Songs chart. As with Billboard’s yearly recaps, multiple writers or producers split points for each song equally (and the dividing of points will lead to occasional ties on rankings). Billboard launched its Hot 100 Songwriters and Hot 100 Producers charts, as well as genre-specific rankings for country, rock & alternative, R&B/hip-hop, R&B, rap, Latin, Christian, gospel and dance/electronic in June 2019. Alternative and hard rock joined in 2020, along with seasonal holiday rankings in 2022.

The full Latin Songwriters and Latin Producers charts, in addition to the full genre rankings, can be found on Billboard.com.

Live Nation, Ticketmaster Have Boosted Lobbying by Almost 400%

Live Nation president/CFO Joe Berchtold might have been the sole defender of his company’s 2010 merger with Ticketmaster at a Senate Judiciary Committee hearing in January, but behind the scenes, he wasn’t alone.

Advising Berchtold and managing key relationships on Capitol Hill is a small army of over 30 lobbyists, deployed to defend the company from growing criticism by senators like Amy Klobuchar, D-Minn., and Richard Blumenthal, D-Conn. Klobuchar, who serves as the chair of the Senate Judiciary Subcommittee on Competition Policy, Antitrust and Consumer Rights, has made repeated calls to the Department of Justice to investigate Ticketmaster and break up the company if any wrongdoing is uncovered during a DOJ review of the consent decree it created to foster competition in ticketing. That review is expected to wrap up soon.

While Live Nation’s lobbying spending has been historically low for a company of its size and domi- nance, that’s changing. Last year, the company spent nearly five times as much on lobbying as it has in the past, according to data from Open Secrets, which uses public records to track such spending. From 2012 to 2018, Live Nation spent an average of $225,000 annually to lobby federal officials. In 2022, its annual lobbying expenses had increased to $1.1 million.

The company’s agendas include defending criticism regarding Ticketmaster’s handling of the Swift presale last November.

One of those insiders is Seth Bloom, a former longtime general counsel for the Senate’s antitrust subcommittee and advisory board member for the American Antitrust Institute. Another is Jonathan Becker, a former chief of staff and chief counsel to Klobuchar who now serves as a partner at law firm Mayer Brown and represented a dozen big-name clients in 2022, including Meta, Microsoft and Phillip Morris.

Live Nation now spends significantly more than its competitors in the touring sector. Last year, enter- tainment conglomerate AEG spent $140,000 on federal lobbying, according to Open Secrets, while secondary-market ticketing competitor SeatGeek spent $170,000 and Viagogo, the British company that bought StubHub in 2020, spent $140,000. Live Nation partner company Oak View Group spent $570,000 on lobbying, while Spotify, which has rolled out a new ticketing offering for concert promoters and is hoping to broaden its reach within the live space, spent $710,000.

Live Nation could spend even more this year as it ramps up efforts to exit the consent decree once the five year extension ends in 2024. The company now has more than seven lobbying firms working for it on issues that include ticketing, event safety and Federal Aviation Administration rules on the use of drones at events.

Ticketmaster’s Post-Swift Strategy: Take On Ticket Fees

After weeks of strategizing how to salvage Ticketmaster’s reputation in the wake of last November’s Taylor Swift presale debacle and Live Nation president/CFO Joe Berchtold’s January grilling by the Senate Judiciary Committee, the ticketing giant’s parent company has settled on an approach that will ramp up lobbying to hit back at scalpers while educating consumers about ticketing fees.

Despite breaking two company records with the Nov. 15 The Eras Tour presale — the most tickets ever sold in a single day (2.4 million) and, according to the company, keeping 95% of those tickets off secondary sites like StubHub and SeatGeek — Ticketmaster found itself cast as the villain and Live Nation as a monopoly after a cyberattack disrupted over 100,000 transactions.

The outcry has led to a mixture of disbelief and self-reflection at Live Nation’s global headquarters in Beverly Hills, Calif. “The company enables music fans to connect with the world’s greatest artists through concerts and events that often become the cornerstone moments of people’s lives,” says a Live Nation executive who was not authorized to speak on the record. “Why the fuck do people hate us so much?”

Although the controversy over the Swift presale had to do with ticket availability rather than price — the prime complaint of Ticketmaster’s July 2022 Verified Fan sale of tickets to Bruce Springsteen’s 2023 tour — the executive says that Live Nation has determined that redeeming itself with consumers “starts with the fees,” which can add over 30% to the final price of a concert ticket.

“We’ve got to now go out and do a much better job so policymakers and consumers understand how the business operates,” Live Nation president/CEO Michael Rapino said during the company’s most recent investor call. “We’ve historically not had a big incentive to shout out loud that venues are charging high service fees or artist costs are expensive. But I think now [that] education is paramount.”

Ticketmaster’s main source of revenue comes from the fees it charges to process ticket transactions. A ticket’s face value goes to the artist, while the ticketing giant shares the fees it collects with the venues that contract for its services.

Ticketmaster typically keeps $2 to $5 per ticket for processing costs and a small portion of the fees it collects to recoup any loans, advances or bonuses it may have paid the venue to win its ticketing contract. Contracts for large venues can be worth millions of dollars. The balance of the fees collected goes to the venue, which uses the money to cover the cost of the show.

Traditionally, promoters book venues for artists, pay rent to use the space and hire its staff. What’s left over as profit is divvied up with the act, which typically receives 80% to 85% of that amount.

But as competition to book top-shelf headline talent has increased over the last decade, venues have reduced the rent they charge and promoters have agreed to take a smaller percentage of base ticket sales — sometimes as little as 5%.

As Rapino said on the investor call: “The artist takes most of that ticket fee base. So the way that the venue, the promoter or the ticketing company [earns its] revenue fees is through that extra fee.”

The increasing costs of concert production, which are borne by the promoter, have also wid- ened the gap between a ticket’s face value and the final amount charged after fees, which can induce sticker shock when two $100 tickets can end up costing $265. While it has been very profitable for Ticketmaster to cover more of a concert’s costs through these fees, it has helped turn ticket buyers against the company.

Ticketmaster executives are hoping a simple fix can solve the problem — showing the total cost of a ticket, face value plus fees, at the be- ginning of the checkout process. That method is already used in New York, where it is mandated by state law.

“We all want to know what is the true cost to see the show when we start shopping,” Rapino said on the call. “We wish that would be mandated tomorrow across the board [because] that would relieve a lot of the stress [and] the consumer’s perception that there’s this magical extra fee added on” that isn’t part of the overall show cost.

Ticketmaster and other ticketing companies have long debated whether to abandon what’s known as a “drip pricing” model but haven’t pulled the trigger because studies show that fans are more likely to make a purchase if the fees that are tacked onto the face value of a ticket don’t appear until checkout. Secondary-market ticketing companies have also adopted the practice, advertising tickets at prices below those sold on the primary market, then hitting consumers with a 35% to 45% markup at checkout.

In a move more closely tied to the Swift situation, Ticketmaster has also decided to target scalpers through legislation and proposed legislation called the FAIR Ticketing Act that would outlaw drip pricing and grant artists the ability to ban scalper websites from reselling their tour tickets. Support for the initiative includes all four major talent agencies, Universal Music Group and a number of management companies.

Pro-ticket scalping groups have proposed their own counter-legislation, effectively banning Ticketmaster from using its proprietary technology to stop scalpers. Neither bill has a congressional sponsor in either chamber of Congress, however, and unless that happens, neither has any chance of passing.

Ticketmaster does appear to have some serious muscle in its corner when it comes to the scalp- ing issue. In a February interview with Billboard, Gregg Perloff, founder and CEO of independent promoter Another Planet Entertainment, which produces San Francisco’s Outside Lands festival, said: “My question for [Congress] is, ‘Why are you picking on Ticketmaster and Live Nation when you should be outlawing brokers?’ They are the ones who screw up everything. Does every promoter take a few tickets? Does every venue have a few tickets? … Sure. But it’s the scalpers that make it so no one can get a decent seat except the rich. The Senate didn’t do the research they should have done before they started pontificating and acting like they knew what they were talking about.”

In addition, Perloff suggested that touring artists were partially responsible because they “really want to go on sale for the whole tour at once because they can advertise the whole tour at once and make a bigger splash.” Regarding Swift’s tour, he said, “There’s no system in the world — and this is where I have to defend Ticketmaster — that could have handled the onslaught.”

Also in February, at the Pollstar Live conference in Los Angeles, music mogul Irving Azoff and Madison Square Garden Entertainment chairman James Dolan took on pro-scalping journalist-podcaster Eric Fuller when he argued that scalping made tickets cheaper, citing discredited media reports of bargain bin-priced tickets available for Springsteen’s North American tour dates.

“It’s about a half-hour conversation, but you’re dead wrong,” Azoff told Fuller, who also operates a consulting business in ticketing.

“You got to take your hat off to this paid lobbying group that’s working for the scalpers,” Dolan chimed in. “These guys are pretty good. Maybe we should hire them.” In response, Fuller says Dolan’s comments are “grossly inaccurate.” 

Pedro Pascal Wants This Prince Hit Played at His Funeral

Pedro Pascal is the latest celebrity to take on First We Feast’s Hot Ones challenge, in which stars eat ten chicken wings or vegan substitutes, with each wing prepared with a progressively hotter hot sauce. Meanwhile, they’ll will answer thoughtful and well-researched questions from host and co-creator Sean Evans.

The Last of Us actor made it all the way through the 10-wing challenge, maintaining his calm and cool personality as much as he could amid the heat. On the last chicken wing, dipped in Hot Ones’ own The Last Dab Apollo sauce, Evans brought up Pascal’s love for Prince, and asked him “Purple Rain” is the song the star would want played at his funeral.

“It’s my favorite song. It’s the most moving song,” Pascal shared. “I don’t know why, but it always emerges even before I actively started implementing it into my spiritual routine, essentially. I didn’t go to church. I was raised by HBO, [Steven] Spielberg and Prince. For me, ‘Purple Rain’ is the most emotionally cathartic, the most musically sophisticated song that I can think of. If it’s casually or spontaneously playing somewhere, I don’t have emotional space to go there because it just moves me so deeply.”

Watch the full episode of Hot Ones below, in which Pedro Pascal talks The Mandalorian, The Last of Us and more.

Curren$y Talks Working With ‘Walking Grammy’ Jermaine Dupri, Offers Advice for Aspiring Rappers

Billboard‘s Tetris Kelly linked up with Louisiana rapper Curren$y behind the scenes at Rolling Loud Los Angeles. The former No Limit and Cash Money signee gushed over legendary producer Jermaine Dupri, who he even named a song after on his 2021 project, TK.

Explore

See latest videos, charts and news

See latest videos, charts and news

“I’m from the underground [and] I got a lot of homies in the game, but not somebody with those accolades,” says Curren$y. “He’s just a normal person. He’s not even aware that he’s a walking Grammy.”

The 12-time Grammy-nominated producer was rumored to have been working with Curren$y since 2021, with Dupri sharing in a January interview with Vibe that the pair will put out a collaborative project together, titled Motivational Use Only Vol. 1. “I’m ready to take instruction from [Dupri] if he felt like, ‘Yo, we should probably lay this [down] again,’” Curren$y explains. “That’s not something I’m used to.”

During his Rolling Loud LA set, Curren$y performed classic tracks such as “Breakfast,” and fan-favorites including the Mac Miller-assisted “Money Shot.” Other performers included Kodak Black, Tyga, Trippie Redd, DaBaby and Ice Spice. The festival was headlined by Playboi Carti, Travis Scott, Future and Lil Wayne.

Curren$y — who has had a 21-year-long career — also offered some words of advice for aspiring rappers: “Keep your head down. Keep working. Don’t mind nobody else’s business. As soon as you take your eyes off your path, that’s how you’re going to lose your position.”

Watch Billboard’s interview with Curren$y above.

How HYBE’s Battle For SM Entertainment Became a South Korean ‘Succession’ Drama

SEOUL — The bitter battle for control of K-pop’s fabled agency SM Entertainment has spilled out publicly like an episode of HBO’s Succession. K-pop’s largest agency, HYBE — home to boy band BTS — is pitted against the management of SM, which for years was South Korea’s dominant K-pop company. But as SM’s Lee Soo-man sided with HYBE against the company he founded, a corporate shakeup has turned into a battle royale.

SM sought to maintain its independence through a partnership with Kakao, a South Korean internet giant that has acquired several entertainment agencies. In February, Kakao said it would buy a 9.05% stake in SM against the wishes of Lee, SM’s charismatic founder and rock singer-turned-mogul, whose equity in SM allowed him to challenge the purchase in court. 

About a week later, Lee — a controversial figure who helped build the K-pop business over the last three decades but has been convicted of embezzlement in the past — privately approached HYBE founder and chairman Bang Si-hyuk, offering to sell about 80% of his SM shares to HYBE, with an option to sell the remaining chunk at a later date, according to a person with direct knowledge of the matter. As a result, HYBE now has a 15.8% stake in SM, making it the company’s largest shareholder. 

Since then, the companies have traded almost daily salvos.

After a March 3 provisionary injunction upheld Lee’s court challenge to the Kakao acquisition, Kakao announced it had canceled its investment in SM and launched a tender offer seeking to buy 35% of SM from minority shareholders. HYBE is now appealing to SM shareholders to back its board nominees and vision for the company. SM sees the move as a hostile takeover and is asking shareholders to appoint independent directors. The clock is ticking before a March 31 annual shareholder meeting.

Both HYBE and SM have grand ambitions to expand K-pop and take on the major labels globally. HYBE increased its revenue 125% to 1.78 billion won ($1.41 billion) from 2020 to 2022, largely by acquiring Ithaca Holdings in 2021 for $1.05 billion and giving its founder, Scooter Braun, the reins to its U.S. operations, HYBE America. In February, HYBE America made its first major move, purchasing Atlanta-based hip-hop company Quality Control Music for $300 million.

SM hopes to more than double its 2022 revenue of 850 billion won ($644 million) to 1.8 trillion won ($1.36 billion) by 2025 through a mix of partnerships and acquisitions, which include acquiring a U.S. management company and, by the second half of 2024, launching its first U.S.-based artist. “Our plan is not limited to local activities of Korean artists,” co-CEO Tak Young-jun said in a Feb. 23 video.

The company plans to spend 350 billion won ($266 million) on a music publishing company and 300 billion won ($228 million) to acquire record labels, with two-thirds of that amount ($152 million) targeting U.S. companies “with a solid local network that can support Korean artists’ global expansion and have global production capabilities in genres complementary to SM,” Lee Sung-soo, SM’s chief creative officer and co-CEO, said in the same video.  

But minus its powerful founder, SM doesn’t intend to take the world stage with HYBE’s help. It had envisioned Kakao as its preferred partner in a mission — dubbed “SM 3.0” — it has said it will still push forward with in order to expand outside of Korea and build outposts in Japan, Southeast Asia and the Americas.

A HYBE acquisition of a controlling interest in SM could potentially face regulatory scrutiny from South Korea’s Fair Trade Commission since it exceeds 15% of SM’s stock ownership. In 2022, HYBE was behind 26.8% of albums sold in Korea, while SM was behind 19.1%, according to Korea chart company Circle Chart.

As Lee Dominated, SM’s Luster Was Fading 

Though few had predicted such a dramatic unraveling, SM was overdue for a transformation. Once the leading K-pop innovator, SM has debuted just one completely new act, Aespa, in the last five years. It continues to operate through a single pipeline with Lee at the helm of artist management and production, while rivals like HYBE and JYP Entertainment have diversified their portfolios, relying on multiple teams that produce more acts with more independence.

SM’s shares have been chronically undervalued, industry observers say, due to an arrangement where the company paid producing fees to a separate entity owned by Lee. SM paid Lee 24 billion won ($18.1 million) in 2021, equivalent to more than a quarter of SM’s operating profit that year. Even in years when SM produced a loss, Lee took home a sizable paycheck.

The board of directors, packed with Lee allies, allowed the practice to continue for years, until Align Partners Capital Management, a private equity firm, led a shareholder revolt last year. Lee, who now holds about 3% of SM shares, appears headed out the door. HYBE and SM say his role will be reduced if not completely phased out.

“It’s hard to put up a resistance in Korean culture,” Lee Changhwan, CEO of Align Partners, says about the difficulty in over-riding a founder and company’s biggest shareholder. “The governance structure has to go through fundamental changes.”

South Korean stocks are often undervalued, analysts say, since some companies can seem to be managed for the benefit of founders and families to the detriment of general shareholders. Still, in the HYBE-SM power struggle, SM shareholders appear to have won either way: The March 7 share price of 149,700 won ($113.84) is up over 116% since SM announced it would terminate Lee’s contract on Oct. 14.

A K-Pop Pioneer With A Criminal Past

The 70-year-old Lee, who founded SM in 1995, has been credited with making K-pop what it is today. Inspired by early MTV music videos and New Kids on the Block, which he watched during his master’s degree studies in California in the 1980s, he paved the way for K-pop to win overseas fans with a signature formula of visually striking performance and dance pop. 

Lee crafted BoA, the female singer who SM scouted in 1998 when she was 11 years old, into the first K-pop artist to break through in the Japanese market; she went on to sell millions of singles and albums. Groups from TVXQ and Girls’ Generation to EXO and NCT have followed suit with international stardom. In 2000, SM became the first K-pop agency to list its shares publicly. 

Even before PSY and BTS became global household names, Lee was lecturing publicly about K-pop conquering the world — and about a future when non-Korean singers would join the fray and be trained and managed by K-pop production teams.

Lee’s artistic vision and drive didn’t make up for the company’s corporate governance problems, however. Shareholders have in recent years slammed SM for losses from non-music businesses such as a winery and restaurants while Lee was still getting his producer’s fees. Several SM acts have seen members leave acrimoniously over what they called harsh training and “slave contracts,” resulting in government intervention, including shorter contracts for K-pop trainees and stars.

In 2002, Lee made headlines when he fled the country to escape prosecution while facing embezzlement allegations. After a brief stay on Interpol’s wanted list, he surrendered to Korean authorities and was convicted for siphoning off 1.15 billion won ($892,000 at the time) in company funds during a recapitalization round, which he used to buy shares in SM. (He served three years of probation, and in 2007 he received a presidential pardon — and then returned to the company.) SM has also paid fines for tax evasion, most recently in 2021. 

In recent weeks, Lee Sung-soo, the co-CEO who is also nephew to founder Lee’s late wife, leveled a series of accusations at his uncle, which range from previously undisclosed tax evasion through a shell company based in Hong Kong to making “arbitrary” changes to SM bands’ musical direction to advance his own business interests. 

While the elder Lee has not directly addressed the allegations, HYBE has responded that it was unaware of such an arrangement during the deal’s signing. In a statement to Billboard, HYBE says its SM acquisition was made “following research on the corporate fundamentals, including publicly disclosed information about SM.”

Rachel Platten Shares How Meeting Brian Wallach Led to Featuring ‘Fight Song’ in His Powerful Documentary About ALS

It’s been nine years since Rachel Platten released her ode to resilience, “Fight Song,” yet the song, to this day, has remained empowering for people worldwide who are overcoming obstacles.

Explore

Explore

See latest videos, charts and news

See latest videos, charts and news

That’s why when Platten met Brian Wallach and his wife, Sandra Abrevaya, she was moved to tears by their story. Wallach, a former Obama campaign staffer, was diagnosed with the progressive neurodegenerative disease ALS when he was just 37 years old and was given six months to live. Amyotrophic lateral sclerosis (ALS) affects nerve cells in the brain and spinal cord, impacts the muscles that control eating, walking, speaking and more. Approximately 5,000 people are diagnosed with ALS each year, according to the Centers for Disease Control and Prevention.

Nearly six years later, Wallach and Abrevaya have defied the odds and made incredible steps to advocate for ALS patients and even spurred a legislative process that eventually led to President Joe Biden’s December 2021 signing into law of the Accelerating Access to Critical Therapies for ALS Act, which authorized $100 million a year for ALS research and expanded access to medications being studied in clinical trials to those who have been unable to participate.

Platten, however, didn’t know all of this when she and her husband Kevin Lazan first met the inspirational couple. In fact, they bonded while their children were playing in the swimming pool during a recent Hawaiian vacation. “It was such a lovely surprise. I just thought that I’d met some friends, you know, and our daughters became friends quickly. I had extra pool chairs and I gave them some of my chairs,” the singer tells Billboard. “We had a lot in common and we connected on an emotional level. It felt like way more than just a vacation friend, and it was beautiful how it turned out.”

While chatting, Abrevaya told Platten of her husband’s story, and the 41-year-old singer was awestruck by Wallach’s positivity and the love radiating from his family. “He’s such a charming guy. He’s delightful,” she says. “It’s become hard for him to talk and vocalize and his wife and his oldest daughter are the only ones remaining that can understand him. His daughter who’s only seven years old can translate for him. It’s so beautiful. Watching her love him with her eyes and the way she’s translating him with such love was the most special thing I’ve ever seen.”

At one point, Abrevaya mentioned No Ordinary Campaign, a recent documentary that highlights Wallach’s remarkable journey and how he took control of the fight for his life. That’s when Platten offered for “Fight Song” to be used in the film. “I was a little shy and vulnerable about it,” she recalls with a laugh. “I was like, ‘Guys, I don’t know if you know who I am, but I have this song.’ They’re like, ‘No, no, we know who you are. We’re really excited about it. We’ve been trying to play it cool.’ Brian actually listens to the song often.”

The version of the documentary that includes “Fight Song” was recently screened at Santa Barbara International Film Festival for the first time and is set to be featured at SXSW in Austin, Texas, this weekend (March 12).

“I’m so grateful that I wrote ‘Fight Song’ in this burst of courage and determination as a younger version of me,” Platten says of how her hit track has grown into a pillar of strength for people like Wallach. “I wrote it 10 years ago with this grit. I refused to give up on myself. It’s funny how when you write something so true and resonant and so personal that the meaning can be universal.”

See below for a heartwarming clip of No Ordinary Campaign, in which “Fight Song” soundtracks the support for ALS fighters and their families. Wallach, Abrevaya and Katie Couric serve as executive producers of the Christopher Burke-directed documentary.