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As we come to the end of Mental Health Awareness Month, the music community would be remiss to not critically examine the mental health of the most vulnerable among us — specifically, the child and youth labor that represents a significant portion of our market share, revenues, and slots on the new artist charts. The state of our entertainment union, one that venerates youth above seemingly all else, ironically puts a low value on artist’s holistic wellbeing, putting them in myriad situations that are age-inappropriate, and that are dangerous mentally, emotionally and physically.
The discussion of youth safety in the workplace is hardly new and as the recent documentary about abuses at Nickelodeon, Quiet on the Set: The Dark Side of Kids TV, showed, we’ve seen embarrassing and tragic cases of industry putting commerce before conscience. Having only minimal guard rails in place, such practices in the entertainment industry have resulted in mental health damages that oddly run counter to the fiscal goals of the industry itself, but more importantly, cause mental scars on young artists that are carried long into adult life.
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A study published by JAMA Psychiatry last month echoed what so many other studies have shown: over 40% of adult mental illness — anxiety, depression, substance use and suicidal ideation — is directly linked to traumatic events sustained in childhood and adolescence. The study strongly advocates for policy-driven prevention measures to reduce the rates of youth mistreatment, thereby reducing the rates of serious mental illness in adulthood.
The entertainment industry, and specifically the music industry, needs to enact deep systemic, policy-driven changes, ones that introduce the presence of mental health therapists in virtually all situations and venues encountered by new artists. Shadows, if you will, that protect the artist, thereby indirectly protecting the asset the label has so dearly invested in: the artist themselves.
What would this look like? Just as we require on-set academic tutoring and child labor OSHA protections, the music industry should lead the way and have 24/7 mental health support people shadowing each and every new label signing, helping the artists navigate their new reality of constant adoration, free-flowing money, highly-sexualized environments, the prevalence of drugs and alcohol, and long, unsupervised hours in studios and on the road where rampant sexual/gender-based harassment and assault can and does occur. Labels and publishers would present standardized curricula related to mental health on-boarding upon signing, mental health de-boarding upon termination (ie, when an artist is dropped), gender-based assault/harassment safety best practices, recording studio safety, balanced and healthy touring, and general psychotherapy, among other things.
Some forward-thinking industry players are already part of that change. Nettwerk Music Group builds “wellness budgets” into their artist deals. Limited Edition Music Publishing, a new independent publisher, is doing the same. There are also non-profits including MusiCares, Sweet Relief and Backline that offer valuable assistance. But the list of agencies, labels, and publishers giving only lip service during Mental Health Awareness Month is pathetically long.
For more than 15 years, I was a senior level A&R guy. Over those years, I signed a number of young songwriters and bands (Disturbed, Michelle Branch, Hoobastank, BRMC, Remy Zero, among others). The industry thrives on the young. Michelle Branch was 14 when I signed her. The stories many young women tell of being harassed, including Phoebe Bridgers and Billie Eilish, very likely could have been minimized or outright avoided with the presence of therapist shadows (and zero tolerance for the men doing the harassing). But as it stands now, mental health initiatives in the music industry are mostly just performative talking points.
Artists are our livelihood. Artists are our passion. We as an industry need to do better, proactively protectingthem at all costs from predatory, dehumanizing behavior that relegates them the status of a disposable widget (and not someone’s daughter or son). To be sure: artists will be dropped, singles won’t be worked, and albums will be shelved — that’s business — but how the artist is treated when these events occur can make all the difference in their lives going forward.
And what’s the payoff? How about fewer artists with devastating identity issues, severe depression, debilitating anxiety, substance use disorders, suicidal ideation and more? How about artists that don’t flame and burn out? How about artists whose creativity is boundless and ever evolving? And how about cultivating a whole generation of young artists who are emotionally, mentally, spiritually and physically at the top of their game — thriving and creating — and not traumatized by the very industry meant to nurture them. Now there’s a legacy we could all be proud of.
David Andreone is the founder of ArtistServices Therapy, a psychotherapy and coaching practice tailored to artists, creatives and creative executives. Andreone has held senior level A&R positions at Warner/Chappell Music Publishing, and Columbia Records, and continues to manage artists and produce TV content.
Los Angeles-based electronic producer Jauz partnered with global distribution company OneRPM to relaunch his six-year-old label, Bite This. Together, the two teams are planning label takeovers, pop-up events and compilations as they bring genre-spanning sounds by rising artists to the release calendar. The partnership with OneRPM — whose client list also includes artists like Chance Peña, Yelawolf, A$AP Twelvyy and Alejo — will provide projects from emerging Bite This acts like Albert Breaker and Edison Cole with label services that would normally be rare to have at an artist-run imprint. – Katie Bain
U.K.-based ATC Management, whose clients include Bring Me the Horizon and Bullet for My Valentine, signed a new cooperation agreement with Chinese independent music company Modern Sky. Through the deal, the two companies will leverage their resources across management, live representation, merchandising, marketing and digital to drive artists’ careers in their respective markets.
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AWAL partnered with L.A.-based networking and mentoring program Creative Futures Collective to launch the AWAL Futures program, which will focus on launching the careers of artists and supporting creatives from underrepresented communities. The artists selected into the program will receive an EP release from AWAL (including an EP release event at Soho Warehouse in July) as well as mentorship from AWAL executives. Creatives from the Creative Futures Collective community will assist with marketing assets including music videos, photos and other artwork. Selected artists for the inaugural program are Brooklyn-based project BITTERS featuring British frontwoman Claudia Mills; Columbus, Ohio-based Ghanian-American singer-songwriter NanaBCool; and Chicago rapper/producer Jay Wood.
Two French collecting societies, the SCPP (for sound recording producers) and ADAMI (for music and audiovisual artists), signed a partnership agreement to pool their respective databases and distribution tools for private copying remuneration and equitable remuneration. A study is currently underway to draw up the operational implementation of the pact, which includes a clause under which the two companies may decide to merge within a joint subsidiary being created under the deal. The creation of the subsidiary will be submitted for approval at each company’s upcoming general shareholders meetings. “Both companies jointly acknowledged that the situation in France creates inefficiencies that are detrimental to all rights holders and weakens their ability to negotiate their rights,” according to a press release. “This is because there are 7 related rights collective management organizations in France, whereas in most European countries there is only one.”
U.K. physical distributor Proper Distribution signed a deal with U.S.-based Firebird Music Holdings to service Firebird’s partner labels, artist management agencies and other creative businesses. Proper will spearhead physical sales and distribution for Firebird’s frontline and catalog releases across the United Kingdom, Republic of Ireland and Europe (via Proper’s partner Bertus) for select signed and self-releasing artists on Firebird’s partner rosters. Firebird partners will be granted access to Proper’s facilities and resources, specialist knowledge of local record retailers and marketing and sales teams in agreed-upon territories. Self-releasing artists under Firebird will enjoy a streamlined process to release music on physical formats. The deal will encompass releases by Slash, Chase Rice, The WAEVE, Moonchild Sanelly, Whiskey Myers, Danielle Bradbery and Rainbow Kitten Surprise, among others.
Keywords Studios, an international provider of technology-enabled solutions to the gaming and entertainment industries, partnered with Reactional Music, a music personalization engine that allows music and audio to be generated live in video games. Under the deal, Keywords will offer help facilitate the integration of Reactional into game development projects on behalf of its clients. “Collaborating with [Keywords’] teams and studios provides an incredible opportunity to scale Reactional,” said Reactional Music president David Knox in a statement. “We believe that Keywords’ implementation teams can also enable Reactional to extend its generative music and creator tools in innovative ways beyond the core gaming space.”
Producer Eli Brown (Drake, Giveon, PARTYNEXTDOOR, Chris Brown) signed an exclusive deal with Warner Music Canada through which he will develop and sign Canadian artists to the label via his imprint, Loophole Records.
Code.org, a nonprofit dedicated to expanding access to computer science in schools, particularly for students from underrepresented groups, partnered with Amazon to launch Music Lab, a platform through which K-12 students can learn to code through interactive music composition featuring hit songs by artists including Tinashe, The Chainsmokers, Rosa Linn and Aloe Blacc. Through an educational partnership with Amazon, each artist contributed tracks and samples for use in the platform. Over the past six months, Code.org has tested Music Lab with thousands of students and teachers.
The European Music Managers Alliance (EMMA) announced a new partnership with AI-driven msuic funding platform beatBread, which uses billions of data points to forecast an artist’s earnings potential in order to offer advances on existing catalog as well as new and unreleased music. Artists then repay their advances as a percentage of their revenue over a period of time that artists can set. The partnership will kick off with an exclusive online workshop for EMMA members on July 2 that will focus on funding and business building.
.MUSIC, a top-level domain name designed for the global music community, partnered with global identity verification provider Shutfi Pro. Through the deal, Shufti Pro will authenticate the digital identity of the music community to create a “trusted ecosystem of verified artists, creators, industry professionals, organizations, businesses, and brands” under the .MUSIC domain.
Mastercard Midnight Theatre, a 150-seat venue in Manhattan, selected Oak View Group (OVG) to manage its operations. OVG plans to debut a new restaurant concept at the venue, an investment of Dolphin Entertainment, this spring.
U.K. taxi app FREENOW announced a third year of financial support for Music Venue Trust (MVT). Under the arrangement, FREENOW customers can opt in via the company’s app to round up the cost of their fares and donate to MVT, which supports grassroots music venues across the United Kingdom. Donations will be collected for every trip completed and sent to MVT, which will use the funds to operate its emergency response service — one MVT claims has saved “hundreds” of venues from closure since being established in 2017.
Billy McFarland‘s long, strange redemption arch is taking another weird turn tonight in Austin, Tex., where the convicted Fyre Fest fraudster will fight in a karate tournament organized to entertain podcaster Joe Rogan and several hundred crypto executives attending a blockchain and Web3 conference.
McFarland will face Justin Custardo, best known for being the founder of the Web3 Breakfast Club channel on YouTube, which has about 1,000 subscribers. Organizers of the conference, dubbed Consensus 2024, insist the fight is an officially sanctioned bout by Karate Combat, a martial arts league built around crypto tokens that fans can trade while watching fights between former Olympians in their late 30s and early 40s. McFarland and Custardo will fight in the heavyweight division of Karate Combat’s Influencer Fight Club series, with Karate Combat oddsmakers giving Custardo a 52%-48% advantage over McFarland.
Since being released from prison in May 2022 after serving most of his six-year sentence on fraud charges related to the disastrous 2017 Fyre Festival in the Bahamas, McFarland has managed to stay in the limelight through a variety of media stunts and promises to repay the $26 million he admitted to stealing from investors. That includes a long-running promise to successfully stage Fyre Fest. The date for that event has been pushed back several times — it’s now supposedly scheduled for sometime in 2025 — with a location, lineup and plan of any kind all TBD at the moment.
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Tonight’s fight will be streamed across Karate Combat’s social media pages starting at 6 p.m. CT and will be attended by Rogan, who told viewers of his podcast earlier this week that he would be in attendance to watch the main event between American fighters Ross Levine and Adrian Hadribeaj.
McFarland has posted several videos on Instagram that show him training for the match, including one video where he punches through a pizza box housing a large pepperoni pizza and another in which he kicks a watermelon.
McFarland’s opponent Custardo appears to be taking a more holistic approach to training for the fight, focused on weight loss, technical skills work and mental acuity training through philosophical puzzles posed by his followers.
The men have been trading shots over social media in the lead-up to the fight. Yesterday, McFarland and Custardo came face to face at the official weigh-in in Austin, where the two men, clad in blue jeans and white button-up shirts, traded barbs and sized each other up, appearing to almost come to blows at one point.
“I’ve been training Muay Thai and I’m going to kick (Custardo) very hard,” McFarland warned when asked about his training regimen by the event’s emcee. At a press conference after the weigh-in, Custardo fired back, warning that “every punch [McFarland] takes is in honor of every person he scammed.”
McFarland told the audience he would donate all winnings to victims of his fraud.
Besides his restitution fund, McFarland faces a civil lawsuit claiming he ripped off an investor who gave him $740,000 after getting out of prison. An attorney for 54-year-old Jonathan Taylor of New York — who met McFarland while both were serving prison sentences at Elkton Federal Correctional Institute in Ohio, — claims McFarland needs to appear in court and agree to repay him or face legal action for civil fraud, conversion, civil conspiracy, breach of contract and unjust enrichment.
An attorney for McFarland said Taylor is trying to profit off his connection to McFarland, stating, “we tried multiple times to repay Jon his money, but his lawyers went silent despite our repeated attempts to contact them. We remain open to a settlement.”
Free music streaming shouldn’t be so free, Rob Stringer, CEO of Sony Music Entertainment, suggested Wednesday during a presentation to Sony Corp. analysts and investors.
The value of paid subscription “remains incredible,” said Stringer in prepared remarks during parent company Sony’s Business Segment Meeting 2024. But recent price increases — by Spotify, Apple Music, Amazon Music, YouTube and, most recently, Pandora — have widened what Stringer called the “price gap” between free and paid streaming. Now, Sony wants streaming companies to get more from their free listeners.
“In mature markets, we hope that our partners close that gap by asking consumers using ad-supported services to additionally pay a modest fee,” said Stringer. “This would help develop this segment of the streaming business to be more than just a marketing funnel for paid subscription and still be a tremendous value for users. We have a shared interest in better monetization of free tiers. At Sony Music, we think everyone is willing to pay something for access to virtually the entire universe of music.”
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Free streaming provides an opportunity to attract paying subscribers but returns far less per listener than subscriptions. Even though Spotify has 62% more free listeners than subscribers, advertising accounted for just 10.7% of first-quarter revenue compared to 89.3% from subscriptions. Another round of price increases by Spotify this month in the U.K. and Australia portend additional price increases in the U.S. and other major markets. Further subscription price increases will widen the gap between premium and free streaming, and “even if advertising will become a better part of the story, it’s still a relatively small part of our overall revenue mix,” Spotify CEO Daniel Ek said during the April 23 earnings call.
Charging for ad-supported music would break from a long tradition of providing listeners with a free, on-demand streaming option. YouTube and Spotify are the two largest on-demand, ad-supported platforms that stream music. Amazon Music has a free tier with limited functionality. In the U.S., Pandora has about 39 million monthly active users for its ad-supported internet radio service that has less interactive capabilities than YouTube or Spotify. But paid, ad-supported streaming is common in the video world. Video on-demand services such as Hulu and Netflix offer low-price tiers with advertisements and charge higher prices to eliminate advertising altogether.
Sony Music also wants to extract more revenue from short-form video platforms such as TikTok that command huge audiences but provide relatively few royalties. “Premium-quality artistry drives the appeal of these services, with music being central to approximately 70% of videos created on them,” said Stringer. “These companies play a larger and larger role in music discovery and engagement amongst young listeners. More and more, these are primary consumption sources, and they need to be valued accordingly.”
Stringer, who does not comment during the parent company’s quarterly earnings calls, spoke and answered questions for 40 minutes about Sony Music artists, chart successes, growth opportunities and efforts in emerging markets. After highlighting Sony Music’s efforts in Latin America, India and China, he focused on the newest — and most vexing — technology on the music industry’s horizon. Artificial intelligence, he said, “represents a generational inflection point for music” and Sony Music will take “an active role” in creating a “sustainable business model” that respects the company’s rights.
But Stringer was clear that Sony Music is taking a hard line in the battle to shape AI in music. “We won’t tolerate the illicit training of AI models by reckless and unlicensed misuse of this art,” he warned. “We believe strongly that permission is the only way AI models can be trained with our content, and followed protocols of the EU AI act by sending over 700 letters to AI developers to opt our copyrights out of training.” Sony Music has also issued “over 20,000 takedowns of AI generated soundalikes over the past year,” he added, while working with legislators around the world “to shape policy and rights” on AI issues.
“With the right frameworks in place, innovation will thrive, technology, music will benefit and consumers will enjoy your experiences,” Stringer said. “We have prospered from disruptive market changes before so we are confident we can navigate this chapter successfully.”
A well-known hacking group claims to have breached Ticketmaster and is attempting to sell the personal data of 560 million Ticketmaster users, including their payment details, for $500,000, according to the website Hackread.
Alleged hacking group ShinyHunters has claimed credit for the break-in, resulting in the theft of 1.3 terabytes of stolen data that includes usernames, contact information, order info and partial payment details, like the last four digits of a customer’s credit card, expiration dates and even details designed to prevent fraud (i.e. mother’s maiden name).
Officials with Live Nation, which owns Ticketmaster, have not responded to requests for comment from Billboard or confirmed that the breach took place, but Australian officials with the country’s Department of Home Affairs told the Australian Broadcasting Company that it was aware of a cyber incident that was part of a data leak expected to impact millions of Ticketmaster customers globally.
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A spokesperson from the Department of Home Affairs told the ABC that the department is “working with Ticketmaster to understand the incident”.
“The data breach, if confirmed, could have severe implications for the affected users, leading to potential identity theft, financial fraud, and further cyber attacks,” the Hackread site explains. “The hacker group’s bold move to put this data on sale goes on to show the growing menace of cybercrime and the increasing sophistication of these cyber adversaries.”
The hack comes as Ticketmaster and Live Nation face attempts by the federal government to break the company up on antitrust grounds. Last week, the Department of Justice’s antitrust division sued Ticketmaster in New York’s Southern District, alleging that the company acted monopolistically. Company officials have vowed to fight the lawsuit.
ShinyHunters emerged on law enforcement’s radar in 2020 and has been linked to breaches affecting more than 60 companies. The group is known to use dark web forums to threaten to leak sensitive consumer information unless the affected companies pay an online ransom. Most breaches are carried out using sophisticated phishing pages that mimic their target’s login portals, tricking employees into entering account credentials and other sensitive data. Members of ShinyHunters then use the stolen credentials to log in to company systems and steal data and customer information.
In January, a U.S. District Court in Seattle sentenced alleged ShinyHunters member Sebastien Raoult to three years in prison and restitution of $5 million after Raoult pleaded guilty to conspiracy to commit wire fraud and aggravated identity theft. The 22-year-old French national was arrested in Morocco in 2022 and extradited to the United States in January 2023.
ShinyHunters is reportedly selling the Ticketmaster data on Breach Forums, an illegal marketplace that just two weeks ago had been seized by the FBI.
On May 13, FBI officials apprehended the site’s administrator and seized access to login credentials for the entire infrastructure of Breach Forums, including the backend, across its dark web and clear web sites.
“From June 2023 until May 2024, BreachForums was operating as a clearnet marketplace for cybercriminals to buy, sell, and trade contraband, including stolen access devices, means of identification, hacking tools, breached databases, and other illegal services,” FBI official said in a statement at the time.
But several days later, ShinyHunters allegedly contacted the domain registrar of Breach Forums and successfully regained access, according to Hack News, with the FBI seizure notice on the site replaced by a “Site Temporarily Unavailable” message. Earlier today, Breach Forums was updated again, this time with the alleged stolen Ticketmaster data posted on the site for sale.
Sony is the undisclosed suitor that Queen was in an exclusive period with in negotiating the sale of its catalog and other music assets, as reported by Bloomberg today. There have been multiple reports that the catalog was up for sale since Music Business Worldwide first broke the news last May.
So far, Queen is believed to have had initial conversations about the potential deal with Disney, which owns the band’s masters for North America, and Universal Music Group. According to sources, the deal is being shopped by the band’s lawyers.
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In fact, each band member was said to have their own lawyers for the deal; early this year, some sources suggested that John Deacon’s share of the band’s assets might not be included in any potential agreement. Putting a deal like this together is a very complex process and with all the personalities involved, it’s still a question of whether one will ultimately be struck. In fact, that very issue — band members with different agendas — is said to have derailed a deal for the Pink Floyd assets a while back. That deal was expected to go for $500 million before it collapsed sometime in 2022.
Sources previously told Billboard that Queen was seeking $1.2 billion for its music assets, a price tag that limited the number of prospective suitors. In order to swallow the hefty price tag, Sony is reportedly partnering with an undisclosed financial player. Previously, Sony had help in acquiring the Bruce Springsteen master recording catalog from Eldridge Industries, which at one time owned Billboard.
Queen’s lawyers and Sony Music representatives were not immediately available for comment.
The Queen catalog includes iconic hit songs such as “Bohemian Rhapsody,” “Killer Queen,” “Another One Bites the Dust,” “Radio Ga Ga,” “Somebody to Love,” “Crazy Little Thing Called Love,” “You’re My Best Friend, “We Will Rock You” and “We Are the Champions.” Since 1991, the catalog has generated slightly more than 38 million album consumption units in the United States and has nearly 46 billion in global on-demand streams, according to Luminate. Go here for a full breakdown of the band’s catalog and financial performance.
If Sony completes the deal, it could very well be the biggest music asset deal ever made, even if it does not command the highest valuation for an artist’s music assets. Late last year, Sony bought half of the Michael Jackson estate for about $600 million, according to sources, though Sony never confirmed the acquisition.
DMX’s estate has a new partner. The late rapper’s family has selected Artist Legacy Group (ALG) as the estate’s exclusive and global representative, according to an announcement today by ALG CEO Ashley Austin.
“A force of nature. That is how I would describe DMX,” Austin said of the artist, born Earl Simmons, who died in 2021 at 50. “Rapper, poet, actor, preacher—the man’s talent was truly limitless. I am honored to work alongside Desiree and Sasha as we maximize the estate’s potential. Together, we will ensure that his message and music lives on.”
The co-administrators of the estate, DMX’s fiancée Desiree Lindstrom and daughter Sasha Simmons, are confident ALG can continue the hard-hitting MC’s legacy.
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“Earl was devoted to his fans. He was grateful that they stayed by his side and walked with him through his ups and downs,” explained Lindstrom. “Sasha and I are confident that ALG is the right team to partner with to honor Earl’s music and legacy. For my son and all of Earl’s children and fans, we will keep Earl’s spirit alive.”
Sasha Simmons added, “My father, Earl, was more than an icon; he was my inspiration and guiding light. His music touched countless lives, and his legacy will forever resonate in our hearts. With ALG by our side, Desiree and I are committed to preserving his spirit, ensuring that his art continues to inspire generations to come.”
With his signature growl and underdog story, DMX made his mark on hip-hop over the years with six top 10s on Rap Airplay, including “What You Want” and “Ruff Ryders’ Anthem,” as well as the six-week No. 1 “Party Up (Up in Here).” He recently made his Mainstream Rock Airplay debut with a featured role on Five Finger Death Punch’s “This Is the Way,” a mash-up between DMX’s “The Way It’s Gonna Be” and FFDP’s “Judgement Day.”
The family and Artist Legacy Group are working on “innovative projects” for fans, industry insiders, and music enthusiasts worldwide, according to a press release. ALG is a renowned entertainment management and legacy preservation firm that provides comprehensive services for estates, including intellectual property management, brand partnerships, media projects and more. Some of the other acts on their roster include Sam Cook, The Blues Brothers, Iggy Pop, Bootsy Collins, John Belushi and Dean Martin.
The Academy of Motion Picture Arts and Sciences announced a series of executive promotions as part of an organization-wide effort to unite teams on Wednesday (May 29). “As the Academy evolves, we are bringing teams together to create a better sense of shared purpose across the organization,” Academy CEO Bill Kramer said in a statement.
Amy Homma has been appointed director and president of the Academy Museum of Motion Pictures. In her new role, Homma will lead the strategic creative vision of the Academy Museum. She succeeds film scholar and TCM host Jacqueline Stewart, who is returning to her faculty position at the University of Chicago. Homma will report to the museum’s board of trustees and Academy CEO Kramer.
Homma has been with the Academy Museum for five years and is currently the museum’s chief audience officer. She previously served as the Academy Museum’s vice president of education and public engagement.
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Jennifer Davidson has been promoted to the newly-created role of chief marketing and communications officer, effective June 1. In this expanded role, she will oversee marketing and audience development, communications, digital/social and creative brand strategy for all arms of the Academy, including the Academy Foundation, Academy Museum and the Oscars.
Davidson has served as chief communications officer since December 2021.
Jenny Galante has been promoted to the newly-created role of chief revenue officer, effective June 1. In this role, Galante will drive diversified and global revenue growth for all arms of the Academy, including the Academy Foundation and Academy Museum. She will continue to oversee strategic brand partnerships, including Oscars sponsors and advertisers, and lead efforts for Academy100, a $500 million global revenue diversification and outreach campaign the Academy publicly launched in early May.
Galante, who joined the Academy staff in 2013, most recently held the position of executive vice president, revenue and business development and served as senior vice president, business development.
Matt Severson, director of the Academy’s Margaret Herrick Library, has been promoted to the newly-created position of executive vice president, Academy collection and preservation, effective July 1. He will oversee all collections, archival, preservation, registration, conservation and cataloging work of the Margaret Herrick Library, Academy Film Archive and Academy Museum. This role centers, for the first time, all collections and preservation efforts for the entire 23 million-item Academy Collection.
Severson began his Academy career in 1997 in the Photograph Archive. He became head of the Photograph Archive in 2009 before becoming the head of the Margaret Herrick Library in 2018. He recently edited the Academy Museum exhibition catalog Agnés Varda: Director’s Inspiration, published by the Academy and DelMonico Books last year.
Previously, Severson reported to Randy Haberkamp, executive vice president, Library, Archive and SciTech, who will retire from the Academy on Aug. 2 after 23 years. Haberkamp will continue in a consultant role with the Academy until next spring.
Draco Rosa and his company Phantom Vox have established an alliance with La Buena Fortuna Global, an artist management, booking and event production company with a focus on promoting Puerto Rican talent internationally, Billboard Español can announce. The agreement is aimed at expanding Rosa’s career internationally. “It is with deep emotion that I share a […]
K-pop giant HYBE sold a portion of its stake in rival South Korean music group SM Entertainment worth $50 million, or roughly 3% of the company, according to a filing made public on Tuesday (May 28). Though it sold roughly 755,500 shares worth 68.4 billion Korean won, HYBE still owns some 2.2 million shares comprising […]