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As the 2023 BET Hip Hop Awards honored producers on the 50th anniversary of the genre, they made sure to pay homage to arguably the backbone of Atlanta’s musical production with Jermaine Dupri. The So So Def general took centerstage and ignited his fiery efforts with a performance of Kris Kross’ 1992 Hot 100-topping single […]

As the Palestinian group Hamas continues to attack Israel and the country retaliates by bombing Gaza, survivors of the terrorist attack at the Paralello Universo Supernova Sukkot Gathering electronic music festival near the Gaza border are continuing what has become a grim search for hundreds of people who are still missing.  
So far, the Israeli search and rescue organization Zaka has reported that it found 260 dead bodies at the festival site in Re’im, Israel. An unknown number of attendees have been abducted by Hamas terrorists. At least 150 Israelis were abducted on Saturday (Oct. 7), according to the New York Times, and some of them were taken from the rave.  

On Tuesday morning (Oct. 10), President Biden referenced the massacre during remarks on the Israel-Hamas conflict, naming “young people massacred while attending a music festival to celebrate peace” among the violent incidents of the last few days.

As of Sunday evening, 600-700 festival goers were believed to be missing in the immediate aftermath of the attack, according to artist manager Raz Gaster, who was at the event and represents several acts on the lineup. The exact number of the remaining still missing has not been verified, although two sources in Israel put this number at approximately 150, accounting for bodies that have since been recovered and identified as well as survivors who have been identified; though another source on the ground there says it’s still hard to tell how many remain missing.

Gaster, an artist manager who was at the event and represents several acts on the lineup, told Billboard Tuesday (Oct. 10) that he and members of the festival production team are working to locate survivors and gather information about festival attendees who remain missing.

“At the end of the day, it’s our responsibility as human beings to [provide] the families of these missing people whatever information we can get,” Gaster says. “We will keep working until we get information about each and every one of them.”  

The Israeli offshoot of the longstanding Brazilian festival brand Paralelllo Universo, Supernova Sukkot Gathering was named in honor of the Jewish Sukkot holiday, and hosted approximately 3,000 attendees on a rural site with two stages.

Those who escaped the festival describe the terror on the ground when at about 6:30 a.m. Saturday rockets began flying from Gaza, with some landing near Re’im. Within 20 minutes, terrorists armed with guns and RPGs arrived in ATVs, pickup trucks and motorcycles, as well as by paraglider, and immediately began shooting attendees.  

Shelly Barel, who sells jewelry and clothing at music festivals throughout Israel, had been on the site since Thursday, Oct. 5. At that time, the outdoor space was hosting another psytrance festival, Unity, with Supernova Sukkot Gathering starting on Friday. Supernova Sukkot was only moved to the Re’im site two days prior, after another site in southern Israel fell through.  

“The festival was so much fun,” Barel says of Supernova Sukkot through a translator. “Amazing people, it was really full of joy.”

Everything changed when rockets started falling early Saturday morning. Barel and her husband hit the ground and lay there for at least five minutes, until festival security made an announcement telling attendees to run to their cars and leave the site. Barel and her husband spent 10 minutes packing their belongings, then loaded them into their vehicle and drove away, with Barel’s husband behind the wheel. At the time, they assumed they were being asked to evacuate because of a rocket attack, a relatively regular occurrence in Israel.  

They soon hit a bottleneck of cars trying to exit the festival. Without realizing that armed attackers had arrived, they took a hard right turn and drove across the dirt field adjacent to the site instead of waiting in the exit line. That decision, made as much out of impatience and an instinct to escape as anything else, might have saved their lives.  

“In hindsight,” Barel says, “I understood that the terrorists shot the [people in the] first cars, so those cars couldn’t move, and the rest got stuck behind them. They formed a traffic jam for everyone coming after that. It was a death trap.”  

When Barel and her husband drove off the field and back onto the road, they came upon two stopped vehicles, both of which had all their doors open. Then they saw the occupants of those vehicles lying dead on the ground.  

Barel’s husband made a U-turn and minutes later received a text from someone in his army reserve group saying there were attackers in the area. “When we realized we had to fear the terrorists,” Barel says, “the missiles seemed like the smallest problem.”

He kept driving, following signs to the nearest city. “We decided to go as fast as we could, full gas, only slowing during turns,” she says. “The rockets were falling around us and at this point I thought it was the moment to say ‘I love you’ to each other and say goodbye.”

They didn’t get hit. Eventually, they made their way back to their home in central Israel. There, they found out that some of their friends from the festival had been killed, while others had been abducted. Many remain missing.  

Nitay, a 26-year-old security professional from Tel Aviv who also attended Supernova Sukkot said that he was helping an artist pack up some gear when gunmen appeared and started shooting at the festivalgoers. As shots rang out, “my friend called me when I was running away from the attack and asked me to try and find his sister,” says Nitay, who did not wish to give his last name. “I really wanted to help him, but I had to flee and hide. I felt like I was constantly surrounded by gunfire.”  

Nitay ran for several miles and eventually hid for 10 hours in an olive grove. At one point he thought the group he had taken shelter with had been discovered by armed men speaking in Arabic — they were about 20 yards away, close enough that he could see the men’s legs through the olive tree branches.  

“I prayed to my father, who passed away several years ago and begged him to help me,” Nitay recalls. As he hid, the men began shouting and Nitay says he braced himself for an attack. The shouting went on for about a half-hour, then the armed men began backing away from the area in which he was hiding with several others, including two tourists from Argentina. They stayed there for several more hours until Israeli finally arrived and led them to a nearby police station. Nitay says he never found his friend’s sister.

In the days since Barel and her husband escaped, they, too, have been searching for information on their missing friends, but they haven’t found much, even as obituaries have started to appear. The trauma is so fresh in her mind that she says she became “hysterical” when the elevator door in her apartment building opened and a man she didn’t know was inside.  

For decades, Israel’s dance music scene has been thriving. Psytrance, the electronic subgenre featured on the Supernova Sukkot lineup, became big in Israel in the late ’80s and ’90s, and it has been the country’s biggest electronic sound since, although house and techno have also grown in popularity in recent years.

On any given weekend, especially between March and October, there are several big parties like Supernova Sukkot throughout Israel, with crowd sizes ranging between 50 and 10,000, according to Amotz Tokatly, who’s been involved in the country’s electronic scene for more than 20 years as a promoter, manager, consultant and writer. “If you go to a psytrance party or a house or techno club, you see people from the age of 18 to 60 or even 70,” says Tokatly. “It’s a basic activity in Israel. We love to dance. We love to go out.”

It’s hard to tell what will happen to this scene in the aftermath of the attack, not to mention the war that is expected to follow.  

“What happened here is a disaster. It’s unbearable,” says Tokatly. “The most important thing for us is to [show] the world that this is a crime against innocent people. They don’t belong to any political side. These were just kids going to a party.”

Additional reporting by Tal Rimon.

Paul Russell ascends to No. 1 on Billboard’s Emerging Artists chart (dated Oct. 14), becoming the top up-and-coming act in the U.S. for the first time, thanks to the continued success of his viral breakthrough song, “Lil Boo Thang.”

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The single, released Aug. 18 on Arista Records, jumps 74-51 in its third week on the Billboard Hot 100 with 17.9 million radio airplay audience impressions (up 31%), 5.1 million official streams (up 16%) and 5,000 downloads sold (up 12%) in the United States in the Sept. 29-Oct. 5 tracking week, according to Luminate.

The track holds at its No. 5 high on Digital Song Sales and climbs 48-39 on the all-format Radio Songs chart. The feel-good song continues rising at multiple radio formats: It’s up 22-18 on Pop Airplay and 25-22 on Adult Pop Airplay, debuts at No. 25 on Mainstream R&B/Hip-Hop Airplay and holds at its No. 27 high on Rhythmic Airplay.

Emerging Artists is the second chart that Russell has topped, after “Lil Boo Thang” led the Rap Digital Song Sales chart dated Sept. 2.

“Lil Boo Thang” interpolates the Emotions’ classic “Best of My Love,” which was written by Maurice White and Al McKay of Earth, Wind & Fire. The song spent five weeks at No. 1 on the Hot 100 in 1977 and finished as Billboard’s No. 3 year-end Hot 100 song that year. White and McKay are both credited as writers on Russell’s single.

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Russell, from Texas and now based in Los Angeles, first teased a snippet of “Lil Boo Thang” in a June 28 TikTok that has since garnered over 10 million views and launched over 300,000 creations from fans who’ve paired it with other clips. (Activity on TikTok is not included in Billboard charts except for the newly-launched TikTok Billboard Top 50.) He later repurposed the post on Instagram Reels, where it has generated another 10 million views and sparked over a million creations. That virality helped Russell land a deal with Arista.

“First and foremost, ‘Lil Boo Thang’ is meant to be a good time,” Russell told Billboard ahead of the full track’s release. “When I wrote it, I was stressed out on a Thursday afternoon, so I just turned on some of the music that makes me happy and imagined that I was celebrating something. I think what makes the song special is the fact that so many of us are ready to just forget about whatever is happening around us and enjoy the good things in life – not just thinking back to good times in the past but creating new ones in the present day.”

The Emerging Artists chart ranks the most popular developing artists of the week, using the same formula as the all-encompassing Billboard Artist 100, which measures artist activity across multiple Billboard charts, including the Hot 100 and Billboard 200. (The Artist 100 lists the most popular acts, overall, each week.) However, the Emerging Artists chart excludes acts that have notched a top 25 entry on either the Hot 100 or Billboard 200, as well as artists that have achieved two or more top 10s on Billboard’s “Hot” song genre charts and/or consumption-based “Top” album genre rankings.

Tyla scores her first appearance on the Billboard Hot 100 chart (dated Oct. 14), as “Water,” the breakthrough single for the South African singer-songwriter, debuts at No. 67. Explore Explore See latest videos, charts and news See latest videos, charts and news The song, released July 28 on FAX Records/Epic Records, arrives on the chart […]

Sometimes, even a young artist can carry the weight of time, of life lived, in their vocals. Lila Forde showed the world those talents when she stopped by NBC‘s The Voice on Monday night (Oct. 9) for her Blind Audition. Performing at the keys, Forde has a vintage voice. It’s fused at the hip with soul and soil and a touch of country, the type we’ve all heard speaking to us from the radio over the years, wondering where on earth that came from. For the younger generation, think Florence Welch and Freya Ridings. And some of us older fogies, Joni Mitchell and Carole King.Like a hawk, Gwen Stefani swooped fast on that buzzer. John Legend turned next, then Reba McEntire and Niall Horan finished fourth, smacking that thing with his fist.Following her performance of Blind Faith’s “Can’t Find My Way Home,” and her four-chair turn, Forde gave a wide smile. For a moment, it looked as though emotion had sucked the wind from her sails.“That song could not have been more perfect if you tried,” Niall Horan remarked. “You looked so comfortable up there at the piano. Your tone has so many parts to it.”It was a performance “that reminded me of everything I love about music.” And then, yes, the first sales pitch. Stefani stepped up her game by taking off her shoes, walking towards the contestant, and delivering her own pitch. “What the world needs, we want a singer-songwriter with a true point of view, that’s original, unique, that’s not trying to be anyone else,” she enthused. “And the way you performed it, the confidence, it’s everything I love. It was so good, so beautiful.”The cover “was magical,” reckoned Legend, “what I heard was wisdom, you understood everything you were saying, every nuance…everything felt completely under your control.”Speaking last, McEntire remarked, “you are an old soul. You’re mature beyond your years.”Hailing from Seattle, the daughter of a musical mom, Forde plies her trade on the Los Angeles gig circuit. With four Voice judges beckoning her, begging for her, the choice was all Forde’s to make. And she selected Team Legend. Watch below.

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After being denied by Doja Cat on several occasions, Kenya Grace appears ready for her coronation on the U.K. singles chart.
The South Africa-born, U.K.-raised artist leads the midweek chart with “Strangers” (FFRR), her major label debut and first trans-Atlantic hit.

Also contending for the crown is Casso, RAYE, D-Block Europe’s “Prada” (Ministry of Sound) up 4-2 on the Official Chart Update, and Tate McRae’s “Greedy” (Ministry of Sound), up 5-3.

It’s tightly bunched at the top. Fewer than 600 chart units separated the top three, based on sales and streaming data for the first 48 hours of the chart week, published by the Official Charts Company.

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Drake’s new release For All The Dogs (via OVO/Republic Records) is flying high on the midweek U.K. albums survey, and is likely to earn the Canadian hip-hop star his sixth No. 1. The impact of For All The Dogs can also be felt on the midweek U.K. singles survey, as album tracks “First Person Shooter” featuring J. Cole (at No. 4), “Virginia Beach” (No. 5) and “IDGAF” featuring Yeat (No. 6) are predicted to crash the top 10. If that trio of tracks hold firm, Drake will boast 44 U.K. top 10s when the weekly chart is published late Friday, Oct. 13.

Meanwhile, Doja Cat’s five-week reign is set to end, as “Paint the Town Red” (Ministry of Sound) tumbles 1-12 on the chart blast.

Brighton, England formed alt-pop band Lovejoy should snag a second U.K. top 40 single with “Normal People Things” (Anvil Cat/AWAL), new at No. 22 on the chart blast. It’s the followup to “Call Me What You Like” which peaked at No. 32 in February of this year.

Finally, BlackPink’s Jennie is eyeing a maiden solo top 40 appearance with “You & Me” (Interscope). It’s new at No. 27 on the U.K. chart blast. Jennie does have an earlier appearance on the Official Singles Chart, with 2018’s “Solo,” which topped out at No. 73.

Drake is off to the races in the U.K. with For All The Dogs (via OVO/Republic Records).
The Canadian hip-hop giant leads the midweek chart, and appears set to score his sixth U.K. No. 1 — and second in less than a year, following 2022’s collaborative effort Her Loss with 21 Savage.

Drizzy’s delayed eighth solo studio dropped at 6am ET last Friday, Oct. 6, the culmination of nearly 10 months of teasing and delays.

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Spread across 23 songs, the LP features assists from SZA, J. Cole, Chief Keef, Sexyy Red, Snoop Dogg, Sade, Teezo Touchdown, Bad Bunny, Yeat, 21 Savage, Lil Yachty and PARTYNEXTDOOR. His U.K. albums chart leaders to date include Views (2016), Scorpion (2018), Dark Lane Demo Tapes (2020) and Certified Lover Boy (2021); his last solo full-length recording, Honestly, Nevermind, peaked at No. 2 on the Official U.K. Albums Chart in June 2022.

Eyeing a No. 2 debut on the national survey is Nines with Crop Circle 3 (Zino). If it holds its course, Crop Circle 3 would become the British rapper’s second top 10 album in less than six months, after Crop Circle 2 hit No. 2 in May.

Roger Waters’ Dark Side of the Moon Redux (Cooking Vinyl) has come into view on the midweek chart, and is set to spin in at No. 3. The reissue celebrates the legacy of Pink Floyd’s masterpiece Dark Side Of The Moon from 1973, which has logged 560 weeks on national chart and is recognized as one of the most successful British albums of all time.

Pink Floyd has six U.K. No. 1 albums, though Dark Side isn’t one of them; it peaked at No. 2 in 1973.

Completing an all-new top four on the Official Chart Update is Sufjan Stevens’ Javelin (Asthmatic Kitty). If Javelin flies in at No. 4, it would give the veteran U.S. indie singer and songwriter his career best chart position in the U.K., bettering the No. 6 for 2015’s Carrie & Lowell.

Finally, Joel Corry‘s Another Friday Night (Atlantic) is set for a new peak position, up 45-6 on the chart blast, while new releases from Stornoway (Dig The Mountain! at No. 14 via Cooking Vinyl), MC Slim (Still Working 2 at No. 16 via Warner Records) and Joe Bonamassa (Blues Deluxe: Volume 2 at No. 19 via Provogue) should land U.K. top 40 debuts.

All will be revealed when the Official U.K. Albums Chart is published late Friday, Oct. 13.

Banjo player and guitarist Buck Trent, a two-time CMA instrumental group of the year winner and a prominent member of the cast of the variety show Hee Haw, died on Monday (Oct. 9) at age 85.

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Trent was born in Spartanburg, South Carolina on Feb. 17, 1938, and moved to Nashville in 1959. In 1962, he joined Porter Wagoner’s Wagonmasters, performing with the group for approximately a decade.

Trent’s star rose through his work as a member of the cast of the variety show Hee Haw from 1974 to 1982. Those performances were regularly punctuated by Trent shouting what became his signature phrase, “Oh yeah!” In 2018, Trent was part of a “Kornfield Friends” reunion tour which also featured his fellow Hee Haw alums Jana Jae, Lulu Roman and Misty Rowe.

During his career, Trent also made appearances on The Marty Stuart Show and The Porter Wagoner Show, among others.

In 1975, Trent and fellow country music entertainer and banjoist Roy Clark earned a Billboard Top Country Albums hit with their collaborative project A Pair of Fives (Banjos, That Is), peaking at No. 9. Three other Trent titles impacted the tally: 1968’s Give Me Five (No. 40), 1976’s Bionic Banjo (No. 43) 1978’s Banjo Bandits with Clark (No. 45).

In 1975 and 1976, Trent and Clark won consecutive CMA Awards for instrumental group of the year. Also in 1976, Trent joined Clark and The Oak Ridge Boys for a concert tour behind the Iron Curtain in the Soviet Union. Two years later, Trent and Clark released the project Banjo Bandits, which would earn a Grammy nomination for best country instrumental performance.

In addition to his own recordings, Trent contributed guitar and/or banjo on enduring recordings by Roy Acuff, Wagoner, Clark, Stuart and Dolly Parton, including Parton’s “I Will Always Love You” and “Jolene.” His contributions to music also proved innovative, as the creator of the electric banjo.

In the 1980s, after traveling to Branson, Trent began performing and would become a longtime performer in the town. In 2004, Trent also appeared as a Branson performer in the movie Gordy. Later, in 2012, Trent played on two songs for Marty Stuart’s album Nashville Volume 1: Tear the Woodpile Down.

Trent was previously named as one of this year’s American Banjo Museum Hall of Fame honorees; the celebration is slated for Oct. 12-14 in Oklahoma City.

Trent’s wife, Jean Trent, said in a statement, “It is with great sorrow and a broken heart to say my husband, my love, Buck Trent, went to be with Jesus this morning. I lost my best friend, and the world lost a Master Musician and Country Music Legend. Oh Yeah!”

Jim Halsey, longtime manager for Country Music Hall of Fame group The Oak Ridge Boys and the late Clark, described Trent as “one of my very favorite people in the world.” He added in a statement, “I worked with him for years as a partner with the Roy Clark Show. Buck Trent is one of the greatest banjo players ever. We will all miss him. Thank you, Buck Trent, for being in all our lives.”

Roman added in a statement, “Buck was like a brother to me after all of these years. We’ve shared tons of laughs and some tears along the way, but we never left each other’s side. We had a bond like no other. I’ll miss the man, but cherish the memories from our 50+ year friendship. My heart breaks for his precious wife, Jean, his family, friends, and fans. There will never be another like Buck Trent. Oh Yea!” 

The Oak Ridge Boys member Joe Bonsall added, “We lost a dear long-time friend today in Buck Trent. Buck toured the Soviet Union with us and Roy Clark in 1976 and we have been close ever since. Buck was one of the greatest banjo players of all time and a very funny man. We will miss Buck!”

An attack took place Saturday, Oct. 7, at the psytrance festival Universo Paralello near the Gaza Strip amid fighting between Hamas and Israel. Tetris Kelly:An attack on an electronic music festival in Israel and the country as a whole has left the region in chaos. At least 260 people are dead after a Hamas attack […]

The AI genie is out of the bottle. It’s not going back, so buckle in and get on board.
Artificial intelligence was a hot button topic as music professionals gathered in Singapore last month for the All That Matters conference to learn, meet, greet and get business done.

Music Matters is one of seven streams under the All That Matters banner. Singapore, the dynamic, constantly-evolving city state, once again hosted the event, its music component recognized as the most important of its kind in Asia.

At 18 years of age, ATM is all grown up. This time, almost 2,000 attendees gathered from across the music, sports, gaming, media and entertainment industries, its conclusion the starting point for the Singapore Formula 1 Grand Prix.

Guest speakers at the Sept. 11-13 confab included Jonathan Dworkin, Universal Music Group’s executive VP, digital business development & strategy; Troy Carter, CEO and founder Venice Music; Hazel Savage, VP music intelligence, SoundCloud; Meng Ru Kuok, CEO & co-founder of BandLab; Denis Ladegaillerie, founder & CEO of Believe; Spotify’s Kossy Ng (head of music, Asia) and Joe Hadley (global head of artists and audience partnerships); and Pieter van Rijn, president Downtown Music.

Billboard selected five notable takeaways from this year’s program:

Glocalisation is the way forward

Glocalisation is more than a buzzword. It’s a growing, measurable business as more local language music gains traction on DSPs. Building a business to support that doesn’t happen by accident. “At some point you have a certain ambition,” explained Pieter van Rijn, president Downtown Music, during a day one presentation. “It’s very important for us to be close to our clients,” noted the New York-based Dutchman, whose company has label services staff across the region, including South Korea, Philippines and Japan and elsewhere. Glocalisation is “to think local but act global, the success that we’re seeing there is a trend of local artist having local success and not just English language content driving the charts. You can see that in many countries, it’s another great symptom of how the industry has evolved itself.”

Luminate’s Music 360 research reinforces it, with data showing that 40% of U.S. listeners were found to tune-into music in a non-English language in the second quarter of 2023. At the same time, the share of English-language content is down.

Peter van Rijn photographed on October 19, 2022 at Downtown Music in New York City.

Wesley Mann

Moving forward with AI, and a plan

Believe this year celebrates its 10th anniversary in APAC, a business that started in Indonesia, was built from the ground up, and now represents over 10,000 labels and artist. Some €700 million has been generated in revenue to labels and artists in that decade. Believe is a big believer on Glocalisation, and its future includes the adoption of AI.

“It’s going to come very quickly,” explained Believe CEO Denis Ladegaillerie, during a day-three morning session which also included Sylvain Delange, Believe managing director for APAC. “We expect some products to come into the market very soon, in the next three to six months.” The response needs to be a responsible one. That includes Believe’s own set of principles, drawn up with YouTube, around the four pillars of consent, control, compensation and transparency. A new survey by Believe and TuneCore of 1,558 found that 50% of musicians are willing to make their music available for machine learning while also believing in a responsible approach.

Believe founder and CEO Denis Ladegaillerie

Anis Martin

Streaming fraud is a $500 million problem. At least

For artists, cutting through the noise in the streaming world is a major challenge, and it’s not getting any easier. In the U.S., streams have grown 400% over the last four years, UMG’s Dworkin explained during his keynote presentation, while at the same time, on-platform new music discovery has fallen by 45% (with on-platform music discovery representing just 15% of how fans discover music). If you think that’s bad, streaming fraud takes the cake. Fraud, at the low end of estimations, is a $500 million problem.

“And it could be triple that,” he says. “Security should be a basic matter of hygiene for platforms and for distributors.” Music and artists that connect with consumers should be rewarded in the streaming game. “If a piece of content is riding along on a platform and not connecting with consumers, it will simply be downgraded,” he says, citing Deezer’s novel formulation. “We at Universal are ready for everyone to be held to the same standard. Including us. Let us all compete on the basis of the value created for fans. And not by counting streams as they sleep.“ It’s time to “change the model so the business can be more resilient for the next stage of growth.” He concludes, “there’s a lot more work to do, and the solutions are going to continue to evolve.”

Robbie Williams is coming to entertain you

Thanks to Rocketman and Bohemian Rhapsody, rockumentaries have been a box office boom in recent years. Robbie Williams sings when he’s winning, and he might be singing a lot in the near future with his very own projects.

Before Williams’ headline performance at the F1 Grand Prix, the Brit’s manager Stephen O’Reilly, managing director at ie: ventures and a director of ie: music, sat for a chat about Robbie’s busy schedule.

The former Take That star is the subject of a four-part documentary series, set to air from early November on Netflix.  Robbie Williams is a project of Ridley Scott Associates and director Joe Pearlman (Lewis Capaldi: How I’m Feeling Now) and executive produced by Asif Kapadia (Amy). Also, filming is completed on the previously-announced Better Man, which should arrive at cinemas next year.

The context was to “go out of our comfort zones to do things we’ve never done before,” say O’Reilly of Better Man, which has been described as a satirical musical based on the singer’s own life. It’s helmed by Australian filmmaker Michael Gracy whose debut film The Greatest Showman grossed more than $425 million worldwide. New Zealand’s Weta Digital is creating the visual effects for what O’Reilly describes as a “groundbreaking” film, which opens up a new “world of immersive entertainment, with great music and great story.” Robbie’s solo career is now 25 years deep, and has taken him to the very top of the tree in the U.K. (where he has 14 solo No. 1 albums), Europe and Australia. The U.S., however, has stubbornly resisted his cheeky-chappy charms. Will the new projects change that? Wait and see.

Robbie Williams performs at Hits Radio Live 2019 at Manchester Arena on Nov. 17, 2019 in Manchester, England. 

Carla Speight/Getty Images for Bauer Media

Russell Simmons talks Hip-Hop, Drugs and Donald Trump

Russell Simmons had the last word at All That Matters, with a free-flowing final session which covered all the topics you’d hoped for, and some you didn’t expect. The Def Jam co-founder regaled with tales on Will Smith, the 50-year history of hip-hop, the epicenter of art that was, and still is, New York City, Run-DMC, drugs and Donald Trump. Simmons and Trump used to hang in the 1990s and they traveled the world together. “I don’t dislike Donald,” he remarked. “We had a lot in common, a lot we didn’t have in common. We laughed about a lot of s—.” Becoming the POTUS, well that’s another thing. “When he became president,” he remarked, “it was obviously not a good thing for America.”

Earlier this year, the Singapore subsidiary of Nodwin acquired a 51% stake in Branded, bringing the confab and showcase event into the Nodwin Gaming family.