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10 Jan 2023

Brian Nolan Named President of Global Marketing & Synch at Artist Partner Group

Longtime record label marketing and branding executive Brian Nolan is joining Artist Partner Group as president of global marketing and synchronization, the company announced Tuesday (Jan. 10). Nolan, who begins his new role this month, will oversee all domestic and international marketing, artist development, sales and streaming and synchronization initiatives at the Mike Caren-helmed company, including international expansion, artist development and brand partnerships, in addition to serving on the APG executive committee.

Nolan has spent the past six years at Universal Music Group, most recently as executive vp at Motown, where he oversaw the label’s marketing efforts. Prior to that, he was senior vp of brand partnerships at Capitol Music Group, where he ran the Seventeenfifty division. At UMG, Nolan brokered deals for artists like Lil Baby, Halsey and Migos; for the latter group, Nolan created a partnership with Mountain Dew for a year-long TV campaign with their song “Position To Win” and landed their song “Stir Fry” in the NBA All-Star Weekend promo slots on TNT. Upon joining CMG in 2017, Nolan created a program called Bonus Tracks alongside the Compton Unified School District, aimed at helping students learn about the music industry through seminars, internships and scholarships. The program has since expanded to Detroit and Atlanta.

“I am so fired up to join APG and grateful to Mike Caren for this opportunity,” Nolan said in a statement. “APG’s model and vision redefine what it means to be a partner with the artist. Coming on board with this team, I will be relentless in our pursuit of this goal so that our artists can achieve their dreams.”

Prior to UMG, Nolan spent a dozen years at Sony Music and Columbia Records, where he worked at Sony’s creative agency and served as vp of international marketing for Columbia, working on projects for artists such as David Bowie, Rachel Platten and Leon Bridges.

10 Jan 2023

Iggy Azalea Promises New Music and ‘Scandalous Sh–’ Is On the Way

First thing’s first, she’s still the realest. Iggy Azalea took to social media on Tuesday (Jan. 10) to confirm that she has new music coming out later this year.

The rapper teased the new tunes in response to a fan asking her directly when new music would arrive on Twitter. Quote-tweeting the follower’s question, she wrote, “Music?… summer. Scandalous sh–?… Friday.” (She previously confirmed her grand return to music last summer in a tweet decrying followers’ penchant for being “negative AND nosey. So if I can’t have peace, neither can you. I’m coming back. Cry about it,” she wrote at the time.)

Azalea didn’t offer any more clues as to the scandal she’s currently prepping for the end of the week, but music by the summertime would be her first new release since the 2021 single “Knock Yourself Out,” featuring Sophia Scott and Renee Blair.

The star also dropped her most recent full-length that same year, The End of an Era, which included the singles “Sip It” with Tyga, “Brazil” and “Iam the Stripclub,” as well as collaborations with Sisterhood of Hip Hop star Bia (“Is That Right”), Ellise (“Day 3 in Miami (End of an Era)”) and Alice Chater (“N.Y.E.”).

Both announcements will arrive in the wake of Azalea selling her back catalog in a reported eight-figure deal to Domain Capital. The agreement included both the rapper’s masters and publishing shares on her past hits like “Fancy” (with Charli XCX), “Black Widow” (with Rita Ora), “Problem” (with Ariana Grande) and more.

See Azalea’s latest tease about new music below.

10 Jan 2023

The Legal Beat: Artists Push for Streaming Copyright Rule Change – Plus Dr. Dre, Takeoff & More

This is The Legal Beat, a weekly newsletter about music law from Billboard Pro, offering you a one-stop cheat sheet of big new cases, important rulings, and all the fun stuff in between. This week: A huge group of artists push to clear up uncertainty about termination rights and streaming royalties, Dr. Dre threatens to sue Marjorie Taylor Greene, the man accused of murdering Takeoff is released on bond, and more.

Sign up for the free email version of The Legal Beat here.

THE BIG STORY: Top Artists Demand Streaming Royalties Rule

When I first reported in October that the U.S. Copyright Office was looking to enact an “obscure” rule change about termination rights and streaming royalties, I received a bit of light-hearted criticism from some folks who had been following the issue closely. They conceded that the subject matter was complex — it’s mind-meltingly complex, trust me — but also said that the stakes were huge.

I guess others agree: In a letter sent last week, more than 350 artists, songwriters, managers and lawyers threw their weight behind the Copyright Office’s proposed rule change, saying they were worried about music creators being “deprived of the rights afforded to them by copyright law.” Signed by Don Henley, Sheryl Crow, Sting, Bob Seger, Maren Morris, John Mayer, Dave Matthews, members of The Black Keys and many others, the letter said that opposition to the agency’s new rule would constitute “a vote against songwriters.”

What’s this new rule they’re so fired up about? As mentioned, it’s pretty arcane stuff. (Go read our explainer if you want more details.) But basically:

The group created by the Music Modernization Act in 2018 to collect mechanical royalties from streaming services (the Mechanical Licensing Collective, or MLC) enacted a new policy in 2021, dealing with who should receive such royalties after a songwriter invokes their termination right. Termination is a provision under copyright law that allows creators to take back control of their works decades after signing them away to a publisher. The problem? The MLC’s new policy seemed to say that if a song had already been uploaded to Spotify’s server prior to when a songwriter invoked their termination right, those royalties would need to keep flowing to their old publisher — seemingly forever — regardless of who now owned them.

That bizarre outcome would seem to be at odds with the basic point of termination, which is designed to help original creators finally derive value from their own works. So in October, the Copyright Office proposed a new rule requiring the MLC to “immediately repeal its policy in full,” calling it an “erroneous” reading of the law. And last week, spurred by groups like the Music Artists Coalition, a huge number of influential members of the music industry said they agreed.

Some of the wording of the letter — about a “vote against songwriters” — was pretty ominous. But it doesn’t seem like there’s any real industry opposition to the Copyright Office’s change. The National Music Publishers’ Association has quibbles about how such changes are enacted, fearing that they might lead to uncertainty and litigation over past practices. But the group says it fully supports a rule change and the goal of making sure that terminating songwriters actually get paid.

Will the Copyright Office enact the new rule as originally proposed, or make changes when the final rule is released? We’ll let you know what the final rule looks like — and whether everyone likes it.

Other top stories this week…

DR. DRE WARNS REPUBLICAN – Dr. Dre sent a scathing cease-and-desist letter to Rep. Marjorie Taylor Greene, threatening the conservative lawmaker with a copyright lawsuit for using the rapper’s 1999 smash hit “Still D.R.E.” without permission in a social media post. “One might expect that, as a member of Congress, you would have a passing familiarity with the laws of our country,” the letter read.

MORE MUSIC TROUBLE FOR TRILLER – Universal Music Group filed a lawsuit against Triller over allegations that the video-sharing app has failed to make payments for months under its music licensing agreements, despite “lavish” spending elsewhere.

MIGOS MURDER SUSPECT RELEASED – Patrick Xavier Clark, the man accused of murdering Migos rapper Takeoff, was released from a Houston jail after posting a $1 million bond. He was placed under house arrest and will be subject to GPS monitoring.

LAWSUIT OVER UMG’S SPOTIFY STAKE – ’90s hip-hop duo Black Sheep filed a class action against Universal Music Group over the label’s ownership stake in Spotify, claiming UMG has accepted low royalties in return for stock in the streaming service. Seeking to represent thousands of others, the case says UMG is “withholding hundreds of millions of dollars in royalties.”

SONY SETTLES FUTURE CASE – Sony Music reached a settlement to end a lawsuit that claimed the name of Future’s chart-topping album High Off Life infringed the trademark rights of a company called High Off Life LLC, a creative agency that says it’s used the name for years.

ROCKER ARRESTED ON GUN CHARGES – Matt Shultz, the lead singer of the band Cage the Elephant, was arrested in New York City and hit with two charges of criminal possession of a weapon after police found two loaded firearms in his room at the Bowery Hotel.

MARILYN MANSON CASE DROPPED – A federal judge tossed out one of the several sexual abuse lawsuits filed against Marilyn Manson, dismissing a case filed by model Ashley Morgan Smithline because she failed to retain a new lawyer after splitting with her old legal team last fall.

GLORIA TREVI ABUSE SUIT – Mexican pop star Gloria Trevi was hit with a new lawsuit over a decades-old claim of sexual assault against two minors, who alleged the singer “groomed” and “exploited” them when they were between the ages of 13 and 15 back in the early 1990s. Trevi strongly denied the accusations, saying she’d been “totally acquitted” when such claims were made in a criminal case in Mexico in the 2000s.

10 Jan 2023

Five Burning Questions: Beyoncé, The Weeknd and the First Non-Holiday Hot 100 of 2023

While the first new Billboard Hot 100 of 2023 was still overrun by holiday songs from Mariah Carey, Brenda Lee and many more, every one of them departs the listing for the chart dated Jan. 14 — giving us our first real look at the current landscape of pop hits as we get into the new year.

With “All I Want for Christmas Is You” vacating the top spot, the void is once again filled by Taylor Swift’s “Anti-Hero,” notching its seventh week at No. 1, followed by Sam Smith & Kim Petras’ “Unholy,” SZA’s “Kill Bill,” David Guetta & Bebe Rexha’s “I’m Good (Blue)” and Drake & 21 Savage’s “Rich Flex.” Slightly lower on the chart, two songs hit the top 10 for the first time: The Weeknd’s recently revived “Die for You” (No. 8) and Beyoncé’s slow-burning “Cuff It” (No. 10).

What’s the most telling thing about the Hot 100’s current top tier? And what might still be in store for chart watchers this month based on these early returns? Billboard staffers discuss these questions and more below.

1. With the holiday music cobwebs being swept away from the Hot 100, we’re back to the top of the chart being ruled by late last year’s hits. Is there anything about the top five as it currently stands that you find particularly interesting or surprising?

Katie Atkinson: The staying power of David Guetta and Bebe Rexha’s “I’m Good (Blue)” continues to surprise me – as I’m sure it does David and Bebe themselves. We’ve been talking about the unlikely global success of this song since September, and it just keeps getting unlikelier as it debuts in the top five this week (No. 4). This is only Rexha’s second top five hit on the Hot 100 (following her unstoppable country team-up with Florida Georgia Line “Meant to Be”) and Guetta’s fourth, with his most recent (“Turn Me On” with Nicki Minaj) peaking more than a decade ago now, in February 2012. It’s an eccentric ‘90s interpolation recorded by the duo years ago and then unearthed by eager fans on TikTok – and it’s not going anywhere.

Stephen Daw: David Guetta & Bebe Rexha’s “I’m Good (Blue)” launching from 19-4 isn’t necessarily shocking, but I certainly did not have that song breaking into the top five on my 2023 bingo card, let alone reaching that spot just two weeks into the year. Between the song’s aggressive marketing on TikTok and at radio and the typically slow start to the year, though, it makes sense why a slow-burning hit like this would be such a big draw for the post-holiday charts. But I was certainly surprised, considering that I had assumed that the song’s cultural capital was already on the decline. 

Lyndsey Havens: The two things that surprise me are that “Anti-Hero” returned to the chart’s summit and the fact that David Guetta and Bebe Rexha’s “I’m Good (Blue)” has crept into the top five. Given the sustained success of SOS on the Billboard 200 albums chart, I would have guessed that SZA would also be able to score the No. 1 spot on the Hot 100 after the holiday fallout … but perhaps in good time. And by in good time, I mean by the time the anticipated music video for “Kill Bill” arrives.

Jason Lipshutz: I wrote about SZA’s “Kill Bill” in this space last week, but its return to its No. 3 peak this week underlines just how huge of a solo hit it’s becoming for an artist who’s not generally known for her solo hits. Although it’s sitting behind Taylor Swift’s “Anti-Hero” and Sam Smith & Kim Petras’ “Unholy” — two singles with an enormous presence on top 40 radio — on this week’s chart, “Kill Bill” is likely going to receive more radio play soon, and if its streaming presence remains rock-solid, SZA’s highest-charting solo song to date could climb even higher in the coming weeks.

Andrew Unterberger: I think “Unholy” holding at No. 2 — higher than “Kill Bill,” which already feels like the first major pop hit of 2023 — is a little surprising, given that the cultural peak of that song seems a few months in the rearview already. That’ll probably even out in the weeks to come, but the song holding this strong shows how “Unholy” wasn’t just a TikTok moment, it’s legitimately one of the biggest pop hits of the decade so far.

2. At No. 8, a song hits the top 10 for the first time that makes all the other leftovers feel farm-to-table fresh by comparison: The Weeknd’s “Die for You,” a revived track off his 2016 album Starboy. Why do you think the song has proven to have such legs this late in its lifespan?

Katie Atkinson: I think pop radio fans had an insatiable appetite for The Weeknd that the release of his Dawn FM album a year ago this week didn’t quite feed. So as “Die for You” gained traction via TikTok concurrent to his new album’s release, The Weeknd benefited from music’s everything-old-is-new-again moment. Most casual pop radio listeners likely have no idea it’s a “deep cut” from 2016 and are just appreciating his latest hit.

Stephen Daw: TikTok works in mysterious ways, especially when it comes to deep cut, fan-favorite tracks from a pop megastar. “Die for You” has a universal appeal to its production and vocal, which is what helped it achieve cult-like fave status from The Weeknd’s fervid fans — so once fans begin posting about revisiting their favorite Weeknd songs on TikTok, a groovy earworm like “Die for You” is bound to catch fire. 

Lyndsey Havens: Honestly, I forgot “Die for You” was years old — and I’m guessing I’m not the only one. While much of the Starboy era felt like a bit more of a mainstream grab compared to The Weeknd’s prior work, years later, “Die For You” sounds right at home with the artist he is today. Plus, with the rumors of his last two albums being part of a trilogy, perhaps fans just got impatient while waiting for the finale. If the song’s sudden rise is more strategic than that, though, as most things are today … I’m curious to know if “Die for You” is a teaser of what to expect from what’s still to come.

Jason Lipshutz: In my mind, the “Die for You” TikTok revival-turned-mainstream adoption is a cross between Taylor Swift’s “All Too Well” comeback, as a fan-favorite song from a superstar getting a long second look, and David Guetta & Bebe Rexha’s “I’m Good (Blue)” success, as a long-delayed explosion for a years-old song that still sounds current despite its release date. “Die for You” is another mid-tempo Weeknd sing-along with a catchy-as-hell chorus, and once fans — some of whom had been championing the song for years — started watching it flicker to life on social media, they raised it up with undeniable streaming numbers, radio took notice, and now it’s a top 10 hit.

Andrew Unterberger: It seems like a “well, why not?” sort of hit to me: The song had been viral forever and top 40 programmers didn’t find anything they liked enough on Dawn FM to make an After Hours-sized hit out of, and so they decided to fill the Weeknd-sized void on their playlists with… more Weeknd. I’m surprised it’s gone this long and this strong, but the competition just isn’t that strong near the top of the charts right now, and hey, who doesn’t like “Die for You”?

3. Also new to the top 10 this week is Beyoncé’s “Cuff It,” which marks her second top 10 hit off Renaissance following the chart-topping “Break My Soul.” Is the second hit a big deal for the Queen and her latest album, or more of a pleasant New Year’s bonus?

Katie Atkinson: It’s definitely a big deal. It feels like fans have ordained this one the pop hit from the album, and I could see it marking the second No. 1 from Renaissance – especially if Queen B gifts fans with a music video. “Cuff It” has had a life of its own, starting with a dance challenge back in August and going strong into 2023 thanks to a crafty radio edit finally getting its airplay due.

Stephen Daw: It’s very much a big deal. Much like how “Break My Soul” was Beyoncé’s first solo No. 1 hit since “Single Ladies (Put A Ring On It)” in 2008, Renaissance now becomes the first Beyoncé album since I Am … Sasha Fierce (2008) to spawn at least two of her 21 top 10 hits. The fact that Bey can re-reach the heights of her cultural dominance more than a decade after the fact is a feat that very few pop stars could manage in their careers. Though the headliner of Renaissance will forever be “Break My Soul,” “Cuff It” deserves recognition for only further solidifying Queen Bey’s regal status. 

Lyndsey Havens: I think it’s a big deal for one reason: Fans are begging for more content — aka music videos. To have “Cuff It” go top 10 without it, or without any push from Queen B herself, proves that whatever she does or wants to do going forward will always work.

Jason Lipshutz: I’m not sure how much it matters for an artist like Beyoncé if her widely beloved and commercially successful new album only had one top 10 hit instead of two… but now it doesn’t! So yes, more of a pleasant New Year’s bonus for Queen Bey than important milestone, but also, “Cuff It” rules, a killer dance track with tons of interesting sonic details and one of the cooler breakdowns in pop music last year. It’s a deserving top 10 hit, and I’m glad it finally got there.

Andrew Unterberger: It’s a big deal mostly because it’s good timing for the Queen. It keeps her in the mainstream while she preps whatever transmission is to come next from the Renaissanceverse, and also keeping her top of mind with Grammy voters as she gears up for perhaps the best opportunity of her career to finally grab the coveted album of the year trophy. Also worth noting that while “Cuff It” may not match the No. 1 Hot 100 peak of “Break My Soul,” it’s already passed it in terms of endurance — the song reaches the top 10 in its 21st week, while “Soul” was off the chart altogether by its 19th week.

4. Lower in the top 40, is there any song you’re looking to maybe make a jump into the top 10 in the weeks to come?

Katie Atkinson: This feels like a cop-out because it only has to climb one spot, but I think Zach Bryan peaking at No. 11 this week with “Something in the Orange” shows that his breakthrough hit still has legs and could definitely make it to the top 10. It’s been out since April, but it also just climbed to No. 1 on the Hot Country Songs chart last week.

Stephen Daw: I think these coming few weeks are Meghan Trainor’s chance to get the top 10 hit she’s looking for in “Made You Look.” You cannot open TikTok at this point without hearing about the singer having her Gucci on, and as longer-lasting hits like “Bad Habit” and “As It Was” begin to lose steam again, “Made You Look” could find its moment in the spotlight if it manages to keep its trajectory up on streaming and radio. 

Lyndsey Havens: If by top 40 you mean top 100, then yes: I have my eye on the Lewis Capaldi slow-burner of a comeback, “Forget Me.” Having made the jump from No. 98 to No. 74 this week — and given his previous two top 10 hits, one of which went to No. 1 (who could forget “Someone You Loved”?) — I think he’s more than capable of making another big leap.

Jason Lipshutz: Now is the time for the “Just Wanna Rock” takeover: Lil Uzi Vert’s Jersey club riff jumps up to a new peak of No. 16 this week, its furious energy and frenzied yelps making its presence known in clubs and sports arenas this winter. After a relatively slow start, “Just Wanna Rock” feels primed to become one of the defining songs of the first few months of the year, and should be another top 10 entry for Uzi.

Andrew Unterberger: “Made You Look.” For better or worse, it’s all aboard the M-Train for the next couple months on radio and streaming.

5. While the Hot 100 being largely static and leftover-dominated is certainly nothing new for the month of January, the previous two years also saw the tedium cut into by fresher cultural phenoms like Olivia Rodrigo and the Encanto soundtrack. Do you think we’ll get something like that this January — and if so, might we have any clue of what it will be yet?

Katie Atkinson: I would love to see “Titanium (M3GAN’s Version)” be our next top 10 Hot 100 hit! In all seriousness, though, I don’t think a chart-smashing new artist or film soundtrack has arrived this year (yet). Maybe Rodrigo herself, who just teased that she’s working on music, could once again own January.

Stephen Daw: Look, I’m biased, but I’m rooting for Sam Smith to keep their momentum going well into January and beyond. They have a highly anticipated new album out at the end of the month, and a trop-house-infused new single with Jessie Reyez and Koffee, “Gimme,” dropping tomorrow. If they can continue their excellent work at promoting their material via TikTok, that song could sweep through the charts and make January Sam Smith’s best month yet. 

Lyndsey Havens: Though it wouldn’t be as surprising as the sudden runaway success stories of Olivia and Encanto, I do think that Miss Miley may soon own the month of January — and maybe even the whole year. After kicking things off with another successful NYE show, during which she announced her upcoming single “Flowers,” and subsequently revealing her new album Endless Summer Vacation to be coming in March, Cyrus is poised to dominate early 2023.

Jason Lipshutz: It’s going to be interesting to see what Miley Cyrus, whose new single “Flowers” arrives this Friday, has in her holster this time around. Cyrus is a superstar with a track record of making hits and a ton of goodwill, who’s coming off of a great album, 2020’s Plastic Hearts, that didn’t really produce a smash. If “Flowers” delivers, though, Cyrus has a relatively clear lane to the first big new pop single of 2023. 

Andrew Unterberger: I think we actually got the January phenom a couple weeks early this year, with SZA’s SOS album in mid-December. And based on the fact that the album is still No. 1 on the Billboard 200 in its fourth week — and still claiming a whopping 15 entries on the Hot 100 — it looks like the set may still carry the first month of 2023 anyway.

10 Jan 2023

Ellie Goulding Delays ‘Higher Than Heaven’ Album Release

Ellie Goulding has hit a bump in the road regarding her album release plans. On Tuesday (Jan. 10), the English singer revealed that her album Higher Than Heaven — originally scheduled to be released next month on Feb. 3 — had been delayed to a later date.

“To my incredible fans- I’m sorry to announce that we’re delaying the release of ‘Higher Than Heaven’ to March 24,” Goulding shared on Twitter, along with a short video of her recording in the studio and clips of her filming music videos. “I know you’ve all been so patient with me but we’ve had some exciting opportunities appear behind the scenes which I cannot wait to share with you in due course.”

The “Lights” singer did predict that something like an album delay could happen. In an interview with Billboard News, published in October, Goulding provided an update regarding Higher Than Heaven‘s release but said she may hesitate closer to its release day.

“The album’s done, although I’m sure it will get to the release date of the beginning of next year and I’ll be like ‘No! There’s more songs to write!’” she explained at the time. “But I have a couple more songs coming out this year. The next one I’m really excited about. It’s one of those songs that isn’t a radio song, but something I think people will enjoy.”

In the meantime, fans of Goulding’s can listen to the three singles preceding Higher Than Heaven‘s March 24 release date — “Easy Lover” featuring Big Sean, “All By Myself” and “Let It Die.”

See Goulding’s new album update below.

10 Jan 2023

‘Parade’ Starring Ben Platt, Micaela Diamond Sets Limited Broadway Run

Ben Platt and Micaela Diamond will star in Parade on Broadway this spring, reprising their leading roles in the Tony-winning musical following a sold-out New York City Center run.

On Tuesday producers announced the Michael Arden-directed production will open at the Bernard B. Jacobs Theatre for a limited engagement run starting March 16. Previews will begin on Feb. 21 with a final performance slated for Aug. 6.

“Jason Robert Brown’s and Alfred Uhry’s masterpiece, Parade, is one of the most beloved musicals of the past 25 years. Whenever you mention the show to a theater fan, they light up talking about the first time they saw a production or heard a recording,” producers Seaview and Ambassador Theatre Group said in their own statement. “At City Center, Michael Arden mounted a magnificent production with incandescent performances from Ben Platt and Micaela Diamond that had audiences enraptured. We are overjoyed that we can bring this to Broadway so more people can experience Parade anew.”

The production, written by Pulitzer Prize winner and Academy Award winner Alfred Uhry with music and lyrics by Tony-winner Jason Robert Brown, stars Platt and Diamond as Leo and Lucille Frank, a newlywed Jewish couple already struggling to build a life in the old red hills of Georgia when Leo is accused of an unspeakable crime. It’s an event that propels them both into an unimaginable test of faith, humanity, justice and devotion.

“Twenty-five years ago, we were honored to bring the story of Leo Frank to the musical stage, guided by our visionary director, Hal Prince,” Uhry and Brown said in a statement. “It was an extraordinary gift to watch a whole new audience connect with Parade at City Center under the thrilling direction of a new visionary: Michael Arden. We couldn’t be more grateful that this production is now moving to Broadway, where even more people will get to see Ben Platt and Micaela Diamond deliver phenomenal performances and lead this large and gifted cast.”

After tickets went on sale Tuesday, users trying to buy tickets on Telecharge reported experiencing long wait time and error messages, in part because of demand and also because of the start of the discounted Broadway Week. “After experiencing overwhelming demand for both Parade and Broadway Week, Telecharge service has been restored and tickets are once again on sale. We apologize for any inconvenience and look forward to welcoming audiences to Broadway this winter and beyond,” said a spokesperson from Telecharge.

In its initial Broadway run, the musical — which scored nine Tony nominations and two wins for best book and best original score, was directed by Harold Prince.

“I am delighted that Alfred Uhry and Jason Robert Brown’s musical will be seen by Broadway audiences again after our brief run last fall. Parade has been a seminal piece of theater for me as an artist since it premiered 25 years ago, and to be collaborating with this incredible group of producers, designers, and artists led by the brilliant Ben Platt and Micaela Diamond is truly a dream come true,” Arden said in a statement. “The story of Leo Frank is more important than ever to re-examine, and it is my hope that audiences are both inspired and activated to reflect on both the past failure and the enduring promise of the complicated tapestry we call America.”

Parade‘s creative team includes choreography by Lauren Yalango-Grant and Christopher Cree Grant, scenic design by Dane Laffrey, costume design by Susan Hilferty, lighting design by Heather Gilbert, sound design by Jon Weston and projection design by Sven Ortel. Tom Murray serves as the music director, with Tom Watson heading up hair and wig design and Justin Scribner serving as production stage manager. Telsey + Co and Craig Burns, CSA handled casting.

This is the second show from New York City Center to come to Broadway this year, following Into the Woods, which ran from August 2022 through Jan. 8. Both shows are musical revivals, and therefore would seemingly be considered in the same Tony Awards category. New York City Center’s Encores! program stages concert versions of older musicals for runs of about one to two weeks.

This story was originally published by The Hollywood Reporter.

10 Jan 2023

Madlib & Mark Ronson Joins With The Coca-Cola Company For Clever Recycled Records Project

HipHopWired Featured Video
Madlib x Mark Ronson x Coca-Cola x Recycled Records

Source: The Coca-Cola Company / The Coca-Cola Company

The art of sampling is taking something previously recorded and rendering it anew by chopping, looping, and other techniques that are the hallmarks of Hip-Hop production. Producers Madlib and Mark Ronson joined forces with The Coca-Cola Company for an innovative EP cleverly titled Recycled Records.

Madlib x Mark Ronson x Coca-Cola x Recycled Records

Source: The Coca-Cola Company / The Coca-Cola Company

The Recycled Records campaign launched back in December, putting Oxnard, Calif. native Madlib (Lootpack, Madvilliany, Freddie Gibbs) and London’s Mark Ronson (Amy Winehouse, Wale, Lady Gaga) in charge of sampling a bevy of sounds from a number of recycling centers that are turning used clear plastic bottles into new containers for a bevy of Coca-Cola products.

For years,  Sprite, Fresca, and Seagram’s used a distinctive green plastic for their products, and as we learn in a short film narrated by the legendary MC Lyte, those bottles can largely only be used once. With Coca-Cola transitioning to clear bottles, recycling is now easier than ever thus creating less impact on the environment and giving the bottles new life.

The campaign produced the unique seven-track EP full of original tracks from Madlib and Mark Ronson, all of which are sonically different than the other and show off an amazing range of sounds between the pair. Fans can also try their hand at sampling the sounds and producing their own beats using the same library of sounds the Loopdigga (Madlib) and Ronson employed on their respective outings.

Madlib x Mark Ronson x Coca-Cola x Recycled Records

Source: The Coca-Cola Company / The Coca-Cola Company

“Sampling is an artform which is constantly regenerating. The tiniest sound, whether from an old record or from the world around us, can inspire an entire piece of music. I learnt from my heroes, DJ Premier and Q-Tip, who all made incredible albums from sampling, and it’s stayed an integral part of my work up until today,” Ronson added in a statement.

Madlib adds, “A great sample doesn’t have to come from other music, it just has to make you move. The thud of a plastic bottle going through a recycling facility is, in its own way, a piece of art, it has the ability to transform. Being able to take sounds from the recycling process that are so different from what I’ve used in the past, and flipping it into a whole new format, is a great example of the versatility of sound. Now any cat has the opportunity to make some dope sounds of their own.”

As the short film highlights, the most random sounds were used to create the samples, including the fizz of a bottle opening, the whirr of a forklift in motion, and the steady hiss of a factory conveyer belt. These music masters used all of their skills to flip these sounds into serious head-nodding bangers.

The campaign is part of Coca-Cola’s wider efforts in waste management under its World Without Waste operation.

To learn more, please visit this link to get more information on Recycled Records and to create your own original soundscape. Kudos to The Coca-Cola Company for its effort in protecting the planet by reducing waste on a global scale.



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Photo: Coca-Cola Company

10 Jan 2023

BLACKPINK’s History-Making Accomplishments: A Timeline

Since debuting in 2016, BLACKPINK has been busy not only making music, but collecting accolades. Besides climbing up the charts with their well-received releases and catchy tunes, the quartet of Lisa, Jennie, Rosé, and Jisoo has been raking in numerous firsts as an all-female K-pop group.

Billboard charts records? Check! First K-pop girl group to not only perform at Coachella, but first Asian act to headline the festival? Done! New Guinness World Records? Yep! Surpassing Justin Bieber in YouTube subscribers? You know it! And that’s just several of the notable accomplishments the four ladies of BLACKPINK have notched on their belts in just a few short years. Even more impressive? Many of those achievements came about even before their debut studio album — titled The Album — arrived in October 2020.

“It’s very surprising to us. All the records are the results of our fans, BLINKs, and their unconditional support,” Jennie told Grammy.com of their success in September 2020. “Every day we try to acknowledge how grateful we are, but more than the pressure, we are ready to give them back as much as they gave us. It just gives us more motivation to go further than we ever dreamed of.”

With sophomore studio album Born Pink now out and a world tour to support the set, BLACKPINK is primed to knock down even more records. Read on to see what the global K-pop superstar group has managed to accomplish in North America thus far.

10 Jan 2023

Nicki Minaj Signs With New Management

Nicki Minaj has signed a management deal with Range Media Partners, according to sources close to the situation. Managing partner Melissa Ruderman will oversee her career.

Ruderman joined Range Media Partners as a partner in the music division at the top of 2021. She is no stranger to working with superstars, having a yearslong partnership with Mariah Carey, including previously at Roc Nation (their relationship spans back to 2005, when Ruderman handled Carey’s day-to-day under veteran manager Benny Medina).

As of last spring, Minaj was self-managing after a short stint working with Wassim “Sal” Slaiby‘s SALXCO — with whom she announced she was working in September 2021. From 2019-2021, Minaj was working with Irving Azoff at Full Stop Management, and then before that was repped by Gee Roberson and Cortez Bryant at Blueprint/Maverick Management.

Range Media launched in Sept. 2020 by former Entertainment One chief strategy officer Peter Micelli and a coalition of former CAA, WME and UTA agents. By July 2021, the company formed Range Music, a record label under the Range Media umbrella and a partnership with Capitol Music Group and Virgin Music & Artist Label Services.

Range clients include Jack Harlow, Justin Tranter, Cordae, Midland and many more.

As for Minaj, her solo catalog has logged 11.9 billion on-demand official U.S. streams, according to Luminate. Her albums have earned a combined 14.1 million equivalent album units, selling a combined total of 3.9 million copies across four full lengths.

Minaj has scored two No. 1 albums on the Billboard 200: Pink Friday and Pink Friday: Roman Reloaded. On the Hot 100, she has three No. 1s: “Trollz,” “Kiss Me More,” and most recently “Super Freaky Girl.” She is signed to Republic Records.