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An upcoming Michael Jackson biopic is delayed due to a recently-revealed, decades-old legal agreement barring any portrayal of the family of one of his abuse accusers, according to a report by the news site Puck, requiring costly re-shoots of key scenes.
Michael – a musical biopic from director Antoine Fuqua starring Jackson’s nephew Jaafar Jackson in the title role – was delayed in November by studio Lionsgate, pushing the movie’s 2025 release back from April to October. No explanation was offered at the time.
Now, according to the Thursday report by Puck, there’s an answer: Filmmakers have been forced to scrap key portions of the movie because they would potentially violate a legal contract reached with the family of Jordan Chandler, a then-13-year-old boy who accused the superstar singer of molestation in the 1990s.
In the agreement, Jackson’s team reportedly promised not to dramatize the Chandlers in any capacity. That’s a huge problem, according to the report, because the Michael script portrays Jackson as a “naïve victim of the money-grubbing Chandlers” and features a scene of the boy’s father “threatening to leverage his son’s accusations to ‘destroy’ his ex-wife and Jackson’s career.”
A representative for the Jackson estate did not immediately return a request for comment on Friday.
The existence of the agreement with the Chandlers was not disclosed to filmmakers until after shooting was completed on the $150 million film, according to Puck. Estate executor John Branca reportedly informed producers about the problem around the time that the Financial Times reported in September that the estate had paid out hush-money to other accusers in never-before-reported settlements.
The estate is reportedly funding the necessary re-shoots to the movie, and the filmmakers will seek Lionsgate’s approval for a revised script and shooting strategy for “as early as this week.” Lionsgate is reportedly “hopeful” about the October release date and producer Graham King is “confident that his team can fix the movie.”
A source with knowledge of the film’s production told Billboard on Friday that re-shoots are already scheduled and that the movie’s ultimate release is not in jeopardy, but declined to go further into details.
Jackson, who died suddenly in 2009, was never convicted or held legally liable on any accusation of child molestation, but is still dogged by such allegations. Two men, Wade Robson and James Safechuck, continue to claim Jackson sexually abused them as children, spending the last decade pursuing civil lawsuits. And their allegations were amplified in 2019 by HBO docuseries Leaving Neverland, which laid out their claims in disturbing detail.
The Jackson estate has always vehemently denied all such claims, pointing out that the singer was acquitted in a 2005 criminal trial and arguing that his accusers are simply seeking monetary gain from an artist who cannot defend himself because defamation law does not extend to dead individuals.
The allegations have not dampened the value of Jackon’s legacy. Though the estate was nearly $500 million in debt at the time of his death, it has since generated billions from royalties, theatrical productions and other revenue streams – including a recent $600 million deal to sell half of his music catalog to Sony Music.
Welcome to Executive Turntable, Billboard’s weekly compendium of promotions, hirings, exits and firings — and all things in between — across the music business.
We have compiled ways music companies are coming together to support those affected by the wildfires across Los Angeles, plus a running list of organizations offering relief for musicians and music industry professionals, as well as a tally of affected industry events. More coverage here.
There’s been a changing of the guard at Warner Music Hong Kong, where Robin Ch’i has taken over from longtime managing director Gordon Lee, who is retiring after two decades of leadership. He reports to Simon Robson, who oversees Warner Music Group’s APAC recorded business until a permanent leader is named. Ch’i has been with WMG for 15 years, most recently as director of A&R, brand and business. He previously worked at Warner Chappell Music, focusing on artist development and brand strategies. To land a smooth transition, Lee will support Ch’i until the end of March. Under Lee’s tenure, the company has become a major force in the Asian music industry, developing top artists like Janice Vidal, Khalil Fong and MC Cheung Tin-Fu, while achieving 2.5 times revenue growth in the past five years, the company said in its announcement this week. Robson praised Lee’s contributions and expressed confidence in Ch’i’s leadership, emphasizing WMHK’s commitment to supporting artists and driving innovation “in this dynamic industry.”
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“Music has always been a source of magic for me; it’s not just my career, but a passion that enriches my life,” said Lee, who said he personally chose Ch’i as his successor. “I’m grateful to everyone at Warner Music Group, especially my dedicated team, whose support has been invaluable. I also want to thank our artists for their trust, allowing us to help them realize their dreams.”
Meanwhile…
Sid Fohrman, a prominent music industry lawyer, joined Paul Hastings LLP in Los Angeles as a partner and chair of the firm’s music industry practice. Repeatedly recognized by Billboard in our Top Music Lawyers list — we are talkin’ six years running — Fohrman specializes in high-stakes music industry transactions, including catalog sales, music licensing and securitization. He also advises on emerging media business models, artificial intelligence, and global sponsorships. His clients include media companies, music labels, funds, talent, and entrepreneurs, with notable representations for Primary Wave, BMG Rights Management, Warner Music Group, TikTok and HYBE America. Previously leading Willkie Farr & Gallagher LLP’s music and digital media practice, Fohrman enhances Paul Hastings’ entertainment and media platform, co-led by Erik Hyman and Ken Deutsch. Firm chair Frank Lopez praised Fohrman’s ability to handle complex transactions, “including in the dynamic music space” which he said “enhances our top-of-market capabilities for key players at the intersection of technology, media and entertainment.” Lopez added, “There are strong synergies between Sid’s practice and our roster of leading corporate clients as well as an evolving asset class for asset manager clients across many of our practices, including finance, M&A, private equity and funds, which will help us gain further market share.”
Joey Arbagey joined 19 Entertainment as the American Idol producer’s new executive vp of music, overseeing 19 Recordings, 19 Publishing and 19 Management. The music biz veteran is based in Los Angeles and will report to SPT nonfiction president, Eli Holzman, and EVP of production Rachel Dax. Arbagey was most recently the evp of A&R at Epic Records, where he played a pivotal role in the careers of artists including Camila Cabello, John K, Eddie Benjamin, Zara Larsson and AJ Mitchel, among others. During his lengthy tenure at Epic he worked closely with then-CEO L.A. Reid, overseeing a roster that included big names like Travis Scott, Meghan Trainor and Future. Earlier in his career, Arbagey worked in radio in San Francisco and later as vp of A&R at Arista Records and Island Def Jam Music Group. In 2007, he launched Near Records, later rebranded as Arbadel Productions, a consultancy, label, and production company. “We are so glad to bring Joey aboard as we work to evolve our music division to address the needs of artists in the music industry of today,” Holzman and Dax said. “His input will be invaluable as we continue to build the legacy of one of the most iconic institutions in music.”
Sony Music Publishing appointed Tatchara Longprasert as general manager of its new office in Thailand (SMP TH), making it the first international publisher with a dedicated local team in the country. Based in Bangkok, Longprasert will report to Carol Ng, president of Sony Music Publishing Asia. SMP TH aims to collaborate with Thai music industry stakeholders to foster international partnerships and develop opportunities for Thai composers and songwriters. Longprasert will focus on expanding SMP’s reach in Thailand’s growing music market. With over a decade of experience, Longprasert previously served as A&R Director at Sonray Music and held roles at Warner Music Thailand, BEC World PLC and S.M. Entertainment. Ng noted Thailand’s dynamic music scene, stating, “Thailand has a rich tapestry of sounds and stories. As Thai repertoire grows rapidly, more artists seek a dedicated music publishing partner with global networks and expertise. We look forward to supporting talented songwriters in SMP Thailand and sharing their work with the world.”
NASHVILLE NOTES: Kate Vastano joined Sound Talent Group‘s senior management team, focusing on maintaining its strong culture and aligning with future goals. An industry veteran, she brings expertise in recruiting, performance strategies and employee engagement. Vastano previously served as director of HR at The Agency Group and people operations manager at United Talent Agency … Shelby Paul, the director of communications at Big Machine Label Group, has left the company after nearly a decade. She began her journey with Big Machine in 2015 as an intern following her graduation from Central Michigan University and advanced to her director role in 2022. She’s reachable here … Alan Jackson appointed daughter Mattie Jackson as master blender for his Silverbelly whiskey. She has written two books about grief and hosts a podcast, In-Joy Life.
Mom+Pop Music co-owners Thaddeus Rudd and Michael Goldstone announced the launch of Pipes Music, a creative and digital agency that supports both signed and unsigned artists. Pipes offers content creation, social media strategy and management of select artist properties. Goldstone emphasized that Pipes helps artists streamline their creative process while maintaining their unique aesthetic across platforms. In a press release, Rudd highlighted the agency’s flexibility in supporting artistry. Additionally, Sullivan Brock leads the creative team, focusing on content shoots and live performance footage, while Emily Ferrell oversees user-generated content campaigns with assistance from Ella Parent and Shae Hicks. Pipes has successfully executed campaigns for artists like Maya Hawke and Magdalena Bay and is currently working with new Mom+Pop signing Chaparelle.
Cameron Kooklanfar is now an A&R manager at Prescription Songs, where since 2022 he has collaborated with artists such as Hayley May, Bantu, Shae Jacobs, Kevo, Dominique Sanders, Seb (1Mind) and Lourdiz. A standout achievement in the Angeleno’s career was organizing a songwriting camp with Insomniac, which resulted in the globally successful track “Sideways” by Gordo & Drake, co-produced by Bantu. Rhea Pasricha, Head of A&R, West Coast, commended Kooklanfar’s said Kooklanfar’s “tireless work ethic, knowledge across musical genres, and passion for identifying and nurturing the best talent makes him a great A&R.”
Concord elevated Megan Hall to senior vice president of business and legal affairs for Concord Music Publishing. Based in London, Hall will lead Concord’s UK legal team, oversee the global sub-publishing network, and manage the company’s relationship with digital licensing agent ICE. She’ll also work closely with svp Michelle Brown to support Concord’s songwriters on business affairs matters, while reporting to evp Duff Berschback. Hall brings over 20 years of legal expertise, with priors at DMH Stallard, Ministry of Sound and Sony Music Publishing. She joined Imagem Music in 2013 and transitioned to Concord following its acquisition of Imagem in 2017. Hall is also an active member of PRS’s Licensing Committee Advisory Group and the International Confederation of Music Publishers’ Legal Expert Group. Berschback praised Hall’s deep knowledge of the global music publishing environment, while chief publishing officer Jim Selby emphasized her strong connections. “As the Publishing division continues to grow globally, I know that Concord and the songwriters we represent will continue to be well served by Megan,” said Selby. “Her proficiency in legal matters and her deep roots in the music publishing community make her a great fit for this role.”
Phil Kano, a veteran rock promotion executive, has launched KILPHASO CONSULTING, focusing on promotion, marketing, and artist development. His first client is In De Goot Entertainment, where he will serve as an in-house consultant for projects involving Shinedown, Halestorm, Theory Of A Deadman, Black Stone Cherry, and Zero 9:36. Kano previously held the position of senior VP of rock promotion at Elektra Music Group and clocked over 25 years of experience with Roadrunner, Fueled By Ramen, Atlantic, 300 and Elektra, plus an early-career stint in RCA’s promo department. Phil can be reached here.
BOARD SHORTS: Cumulus Media appointed Steven M. Galbraith to its board of directors. A major shareholder of Cumulus, Galbraith brings extensive financial expertise, having held key roles at Kindred Capital Advisors, Herring Creek Capital, Maverick Capital, and Morgan Stanley. He has also taught securities analysis at Columbia University Business School and advised the Office of Financial Research. Beyond finance, Galbraith is active in non-profits, serving on boards for Tufts University, Success Academy Charter Schools and the National Constitution Center, and he holds positions on several corporate boards … The Library of American Broadcasting Foundation (LABF) elected four new board members: Heather Cohen, Mike McVay, Sam Bush and Ernesto Mourelo. The LABF Executive Committee re-elected Gary Chapman, Mary Collins, Jack Goodman, David Kennedy, and Ginny Hubbard for two-year terms, with Dave “Chachi” Denes joining the committee. Additionally, the LABF Board elected Heather Birks, Mike Carter, Chandra Clark, Harry Jessell, Deborah Parenti, Walter Podrazik, Dan Spears, John Taylor, Joyce Tudryn, and Dennis Wharton to new three-year terms.
Collin Citron, a seasoned music publicist, joined 2b Entertainment, the PR team led by Bobbie Gale and Luke Burland in Los Angeles. Previously, Citron was senior director of publicity at Elektra Records since 2018, where he managed national publicity campaigns for artists like Bailey Zimmerman, Panic! At The Disco, All Time Low, NEEDTOBREATHE and Fitz and The Tantrums. This new role marks a return for Citron, who began his career in 2014 with BB GUN Press, which merged with MixedMediaWorks in 2023 to form 2b Entertainment.
The New York Convention Center Operating Cooperation announced Joyce Leveston as the new CEO of the Jacob K. Javits Convention Center, effective March 10. Leveston, who brings over 30 years of industry experience, was previously the senior vp of convention centers at Oak View Group, overseeing 60-plus convention and conference centers in the company’s OVG360 portfolio. She has held senior roles at major convention centers across the U.S. and managed high-profile events like the Super Bowl fan fests and presidential inaugural balls. Hugh Carey, vice chair of NYCCOC, praised Leveston’s vision and passion, adding, “her leadership will not only inspire our team but will also enhance the experience for all who walk through our doors.”
ASM Global promoted Ryan Golden to GM of Pechanga Arena San Diego, a 14,000-capacity venue. Golden will oversee all aspects of daily operations, including purchasing, booking, marketing, finance, human resources, food and beverage, box office, production, maintenance, parking, security and emergency management. Golden has been with Pechanga Arena for four years as assistant GM to outgoing GM Steve Eckerson, who will transition to a part-time advisory role. Prior to joining ASM Global, Golden’s experience included a vp of events role for AEG’s Microsoft Theater and L.A. LIVE.
ICYMI:
Manu Ferradas
BMG named Johannes von Schwarzkopf as chief strategy officer and executive board member, overseeing global strategy, M&A and global licensing and synch operations at the Berlin-based music giant … Longtime rock and punk promoter John Reese and author Craig Duswalt joined forces to launch the Disrupt Artist Management Network (DAMN!) … and Manuela Ferradas joined SiriusXM in a senior role to oversee the Latin artist and industry relations team for SiriusXM and Pandora.
Last Week’s Turntable: Concord Forms New Digital Division
Heidi Montag and Spencer Pratt have joined more than 20 other property owners in suing the City of Los Angeles and the L.A. Department of Water and Power, claiming the city’s decision to “drain” a local reservoir left firefighters without enough water to fight the devastating Palisades Fire that destroyed their home.
In the complaint, which was filed Tuesday (Jan. 21), Pratt, Montag and their co-plaintiffs accuse L.A.’s Department of Water and Power (LADWP) of making “the conscious decision to operate the water supply system with the reservoir drained and unusable as a ‘cost-saving’ measure,” leading hydrants in the Pacific Palisades to “fail…within a span of 12 hours” because the tanks that fed them were not replenished by water from the “empty” Santa Ynez Reservoir.
The lawsuit cites multiple public officials, including Los Angeles County Public Works director Mark Pestrella, for allegedly acknowledging the failures that led to the fire’s uncontrolled spread through a heavily populated area. It claims that “Defendants also designed the water system for public use such that it would not have enough water pressure to fight an urban fire” despite knowing the region was prone to destructive blazes.
“LADWP and City of Los Angeles had a duty to properly construct, inspect, maintain and operate its water supply system,” reads the complaint, filed by attorneys Peter McNulty, Brett Rosenthal and E. Kirk Wood. “The Palisades Fire was an inescapable and unavoidable consequence of the water supply system operated by LADWP and City of Los Angeles as it was planned and constructed. The system necessarily failed, and this failure was a substantial factor in causing Plaintiffs to suffer the losses alleged in this Complaint.”
A key reason for the city and the LADWP’s failure, according to the suit, was its stated decision to leave the reservoir “empty for nearly a year” in order “to seek contractor bids rather than using in-house personnel to repair” it.
“This stated public purpose was far outweighed by the substantial risk posed to Pacific Palisades by wildfires,” the complaint continues. “The degree of damage that resulted from the Palisades Fire far outweighed any benefit that could have been realized by outsourcing and delaying repairs to the Santa Ynez Reservoir.”
Montag, Pratt and their co-plaintiffs are seeking damages including “costs of repair, depreciation, and/or replacement of damaged, destroyed, and/or lost personal and/or real property” and “loss of wages, earning capacity, and/or business profits or proceeds and/or any related business interruption losses and displacement expenses,” among other relief.
The City of Los Angeles and the LADWP did not immediately respond to Billboard‘s requests for comment.
Pratt became a ubiquitous presence on TikTok earlier this month after his and Montag’s home was destroyed in the massive Palisades Fire, with the reality star encouraging fans to stream Montag’s 2010 album Superficial to help them recover from their losses. Thanks to those efforts, Superficial and its songs have appeared on multiple Billboard charts. This week, the album notched a No. 54 debut on the Billboard 200 with more than 15,000 equivalent album units in the U.S. the week ending Jan. 16, according to Luminate, with more than 3.5 million on-demand official streams in the tracking week and 12,000 downloads sold.
Since breaking out on Jan. 7, the ongoing Palisades Fire has burned more than 23,000 acres, destroyed more than 6,000 structures and killed 11 people. It is now 72% contained. A second blaze, the Eaton Fire in Altadena, has burned more than 14,000 acres, destroyed more than 9,000 structures and killed 17. That fire is now at 95% containment.
As documented from BTS‘ industry-shifting trilogy albums to the multidimensional universes created by the likes of ATEEZ and aespa, storytelling has become a crucial point to help power K-pop acts to top the charts and connect closely with their ever-growing global fanbases. With 20 years in the industry, Jaden Jeong remains so committed to his musical lores that he refuses to abandon them — even years after its original group has effectively dissolved.
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The founder and CEO of Korean-pop label and creative house Modhaus, Jeong’s work touched generations of K-pop fans with various involvement in superstar acts ranging from Lee Hyori and Wonder Girls to INFINITE, NCT, and OnlyOneOf, but most famously found his name associated alongside his work with girl group LOONA. Jeong acted as creative director for the 12-member outfit since its start in 2016, overseeing music and a larger narrative where the outfit introduced each girl through her own solo album. Despite drawing in fans like Grimes, Kim Petras and multiple queens from the RuPaul’s Drag Race franchise, he parted ways with LOONA’s label BlockBerry Creative in 2019 over a vague difference in creative direction. His exit not only marked a shift in LOONA’s sound (from forward-thinking synth and hyper-pop confections) but also abandoned the larger musical lore the 12 were developing (which included officially teased songs, a ballad project, international expansion, and more).
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But on Jan. 17, 2025, LOONA members HeeJin, HaSeul, Kim Lip, JinSoul, and Choerry — who recently reformed as ARTMS under Modhaus — dropped their “X1” teaser trailer featuring what fans thought sounded awfully similar to a sound previously teased from LOONA in 2019, the presumably lost track titled “BURN.”
Speaking openly about the behind-the-scenes dealings from the past as well as his future creative directions for the first time with Billboard, Jeong says that he and ARTMS will continue LOONA’s legacy through future music releases and touring beginning with the upcoming digital release of ARTMS’ “BURN.”
All 12 of LOONA’s members have successfully returned to the K-pop scene either as soloists (like members Chuu and Yves) or in a new group (as HyunJin, YeoJin, ViVi, Go Won and HyeJu did for two years as Loossemble), Jeong says he watches over all of their creative moves and is cognizant to be sensitive about the amount work that everyone has put into the group.
While shooting new content for ARTMS’ upcoming music as well as a new album for Modhaus’ experimental 24-member girl group tripleS, Jeong says he’s under the weather but still speaks a fiery passion about his past, current and future work that speaks to detail-oriented-yet-grandiose creative vision.
Why are you and ARTMS releasing “BURN” now when LOONA could not? How did you come to this decision?
I am well aware that many fans were looking forward to “BURN,” and for me as well, as it was the very last project I worked on right before leaving BlockBerry Creative. So, when Modhaus signed ARTMS, we wanted to release this song, it was just that we knew the timing would be important. We didn’t release “BURN” as the first song because if we released “BURN” with the reveal of ARTMS, it could have made it look like LOONA Version 2 and weakened ARTMS’ identity. So, we wanted to start ARTMS’ own story and work to where the story can lead up to its release.
Before we look forward to ARTMS, I’d like to reflect on how we got here. I remember learning your name for being closely associated with LOONA, but you left for somewhat vague reasons. The LOONA members left the label as well. Is there more you can share today?
So, this overall situation is quite tricky to express with words…I feel like my departure, or the reason for it, can sound like a criticism against someone, some organization, or a situation; that’s why I’ve avoided answering. But after all this time, if I were to give a little more insight into this…as you know, the members have left after going through a legal proceeding. You can say my whole situation is similar to what the members went through.
That gives some insight because you’ve explained your system with tripleS and the necessary amount of albums to sell for a unit to release more. It paints a picture of the financial realities facing K-pop acts. LOONA had 12 members, so I’ve heard theories wondering if it was difficult to financially justify the large-scale project you envisioned.
Answering about the financial side might sound like I’m criticizing one party over another, so I will only answer from my own side of things…so, like any other team, you start off the group through investments. Then you go through steps where you’re able to recoup [the investments] and make a profit. In the case of LOONA, I actually marketed it as a very expensive project, a group that would require a lot of money to be invested. However, in actuality, there was very compact spending and budgeting. In mentioning that, you can say, for example, that three billion Korean won [about $2.1 million] is a lot of money, while some can say that is a tight budget — it can change according to perspective. But when I’ve worked on groups, it’s not as if I was only working as the producer, but I had to calculate budget and expenses. There were many members for LOONA and we marketed it as an expensive project despite the consolidated spending, so we believe there could have been some illusions or misconceptions. However, especially considering the 12 members, there was a good turnaround, even financially.
So, what was “BURN” going to be with LOONA and what will it be ARTMS?
For the sake of comparison, tripleS is a group where fans’ decisions and interactions are very involved in creating the journey and next project. However, we planned out LOONA from the start. We had [the singles] “Hi High” and “Butterfly,” which are actually very different in concept and style, but I believe the fans could see how those two songs ultimately emerge and connect. The track after “Butterfly” was meant to be none other than “BURN,” so that’s why the “Butterfly” activities ended with a teaser trailer for “BURN;” this was all planned out.
I never told this to anyone in the world, but after “BURN,” we planned to work on [singles titled] “RUN” and then “ONE.” The three are a trilogy, just like how “Hi High” and “Butterfly” connect. “BURN” is about burning oneself, burning one’s identity away…you know, during puberty, you leave behind and “shed” your younger self? It’s like leaving that part of you behind as you grow in your identity. So, the trilogy is about “BURN” and burning oneself, “RUN” where the 12 members run their individual paths, and “ONE” is when the 12 members come together as “one.” For ARTMS, the story I have is that they came out with “Birth” and “Virtual Angel.” Angels can be interpreted in many different ways — for us, the wingbeat, or the act of flapping the wings, can be viewed as a butterfly. Now, “BURN” is meant to burn these very wings so it’s the perfect follow-up. Or that’s how we view it. [Laughs]
Where does ARTMS go from here?
I don’t want to spoil everything, but snippet videos for “BURN” were filmed in Europe and will be released soon. ARTMS is working on a lot of music that will be intertwined with “BURN.” I don’t want to outright share the spoiler, but you can think of it as something after the burn, something from the ashes, almost like a new self and identity. You’ll just have to see how it goes.
But I also have “RUN” and “ONE” in store, but can’t share everything so you’ll just have to look forward.
Sounds like a phoenix is rising soon. But this is all so fascinating; where do you pull your inspiration from?
I don’t think there is anything special, I am like anyone else: the books from my youth, Hollywood movies these days, advertisements, I get inspiration from many different things. It’s not like I have a special talent related to this. However, I do like new things quite a lot. I gain this sense of enjoyment in showcasing something that has yet to be achieved or never before seen.
Back to the music, ARTMS visited the U.S. last year as part of their Moonshot World Tour. Do you have future concert plans?
ARTMS’ next tour will consist of mostly of all LOONA songs. Fans may be confused as to why there are so many LOONA songs, and why ARTMS is performing it, but as someone who really participated in producing these songs, LOONA has a huge catalog of very good songs and we wanted to keep that legacy going. I wanted to have two concepts within ARTMS, where they can tour with ARTMS but also with LOONA’s music.
ARTMS consists of five of LOONA’s original 12. Is there a way you see the remaining members connecting into this future story?
This might be a sensitive topic because I’m planning new things with ARTMS, but I still have a pretty good relationship with all the members including the soloists. And they’re all doing well in their own personal activities. Yves and Chuu are doing well as soloists, Loossemble may be going through a rocky time now and we’re still maintaining that good relationship, but it’s hard to bring all that together as everyone is doing well in their respective areas.
That being said, we’re getting “BURN,” but you teased other LOONA projects during your time — LOONA the Ballad or La Maison LOONA, music aimed at the Japanese market. Do you keep them in mind for future projects?
Like I mentioned, I do a lot of planning — maybe two to three years in advance. I do have lots of songs in store and some are previously recorded. From the fans’ perspective, it makes me really sad that so many of these songs have not been released to this day. The same goes for me as I was participating in these projects and also put a lot of effort into them — the fact that they haven’t been released yet is still saddening to me as well. I do want to showcase those songs with ARTMS but as mentioned, I don’t want to share straight them from the beginning as we’re still developing the identity of ARTMS. Also, with the unsure situation with Loossemble, we didn’t want to jump into it out of respect, but in the future I do want to integrate those songs into ARTMS’ catalog.
Your career spans 20 years at this point. Is there any moment or release you look at with pride? You collaborated on INFINITE’s INFINITIZE album, which is a high point in K-pop, in my opinion.
I really put everything into that album. The memories of those days live with me so vividly — there is a car in the music video for [lead single] “The Chaser,” where it flipped around a full 360 degrees and that memory is still fresh in my mind.
But one of the things that I liked about INFINITE is that they didn’t use [American] pop as a reference. Even now, you can say it’s a trend for many K-pop groups to mix American pop and hip-hop styles into their music. However, for INFINITE, maybe it was our youthful spirit, but I wanted to make them the standard and identity for K-pop — as in, making Korean K-pop with Korean attributes and without U.S. references. Although doing music 100 percent without U.S. reference would be difficult, admittedly. But we really had such bravado and determination.
Your work has spanned from creative direction, A&R, concept planning and, now, a CEO of your own company with Modhaus. Is there a particular role or aspect you enjoy most?
As many know, I was a freelancer when producing LOONA. Same for the other artists I’ve worked with, I was always contracted with them. I came to realize there is a certain limit to working with, as well as the funds of, other companies. Obviously, I do a lot of step-by-step planning and it was sad that it had to come to an ending. But through all the experiences I’ve gained, I thought I had to create my own company to really get that creative process going, but also support other creatives in their fields to express more of themselves freely in their work. I thought timing for that was right.
Looking ahead, what would you like to share about the future of Modhaus, tripleS, or beyond?
Firstly, when it comes to tripleS, last year we released their full, 24-member album [ASSEMBLE24] and tripleS did their activities as 24 members. Since tripleS has many members, I want to do more activities and more various, different contents with tripleS. All the members have their own brand of charm and characteristics, so there is much more content in store that we want to show to the world.
Regarding Modhaus, I truly want to make it the entertainment company that proposes and showcases new content, concepts and visions. What this means is that — well, there are many entertainment companies and several hundred or dozens of new [K-pop] teams each year. I am sorry to say this, but they are all pretty similar. That’s not necessarily a bad thing, but for tripleS, people can say “Modhaus debuted a 24-member group.” Whether the people like it or dislike it, whatever their reaction is, it is a new concept in Korea or around the world. So, we want to try and pursue a different vision and try different content — the very content that people will say, “I never saw that before” or “I’ve never seen that in K-pop.” We want to pursue and showcase that and succeed with that mindset.
As wildfires continue to threaten Los Angeles amid dangerous “red flag” conditions, the boutique bank Raine has announced that its Grammy Week event will be reframed as a fundraiser for music professionals affected by the massive Palisades and Eaton blazes.
The event, to be held on Jan. 30 at the San Vicente Bungalows in West Hollywood from 5:30 to 7:30 p.m., will be co-hosted by Raine, the National Music Publishers’ Association, and music industry publications Music Business Worldwide and HITS. Donations will go to the Recording Academy and MusiCares’ Los Angeles Fire Relief Effort supporting music workers impacted by the disasters. Those interested in attending are being asked to donate a minimum of $250, which can be done at the event’s RSVP page. Questions can be directed to wildfirefundraiser@raine.com.
Raine partner Fred Davis says they chose to turn the event into a fundraiser — rather than cancel it altogether — to make the most of the attendees’ “enormously charitable” nature.
“So many in our music community have been devastated by their losses. It hurts,” Davis tells Billboard. “I have grown up in this industry. I have a responsibility to help.”
The Raine event would have been the music and entertainment industry-focused bank’s second Grammy Week cocktail party, but invitations went out one day before the Palisades Fire broke out on Jan. 7. That blaze went on to destroy more than 6,600 buildings and homes across more than 23,000 acres, while 11 people lost their lives. The Eaton Fire, which started later the same day in Altadena, is estimated to have destroyed more than 9,000 structures and killed 17. Both of those fires continue to burn but are nearing full containment, though a newer blaze, the Hughes Fire, exploded on Wednesday (Jan. 22) north of L.A. and prompted widespread evacuations in the Castaic Lake region. It has since burned more than 10,000 acres and is at 24% containment.
Notably, the Raine event is one of the few to remain on the Grammy Week calendar in the wake of the wildfires, with the majority of the major bashes either canceled or postponed. Those that remain, including the annual MusiCares Person of the Year and Clive Davis Galas put on by the Recording Academy, have similarly been re-spun as fundraisers for wildfire relief.
The Grammys themselves, which are still scheduled to be held on Feb. 2 at Crypto.com arena in Downtown Los Angeles, will go forward, according to academy, “with a renewed sense of purpose: raising additional funds to support wildfire relief efforts and honoring the bravery and dedication of first responders who risk their lives to protect ours.”
Longtime booking agent Scott Pang passed away on Thursday (Jan. 23) after suffering from a cardiac arrest. He was 69 years old. “He loved what he did and he was always on the phone,” his son Thompson Pang tells Billboard. “He knew so many people, it was crazy.” Pang was born in Honolulu, Hawaii on […]
A teenager who stabbed three young girls to death at a Taylor Swift-themed dance class in England was sentenced Thursday to more than 50 years in prison for what a judge called “the most extreme, shocking and exceptionally serious crime.”
Judge Julian Goose said 18-year-old Axel Rudakubana “wanted to try and carry out mass murder of innocent, happy young girls.”
Goose said that he couldn’t impose a sentence of life without parole, because Rudakubana was under 18 when he committed the crime.
But the judge said he must serve 52 years, minus the six months he’s been in custody, before being considered for parole, and “it is likely he will never be released.”
Rudakubana was 17 when he attacked the children in the seaside town of Southport in July, killing Alice Da Silva Aguiar, 9, Elsie Dot Stancombe, 7, and Bebe King, 6. He wounded eight other girls, ranging in age from 7 to 13, along with teacher Leanne Lucas and John Hayes, a local businessman who intervened.
The attack shocked the country and set off both street violence and soul-searching. The government has announced a public inquiry into how the system failed to stop the killer, who had been referred to the authorities multiple times over his obsession with violence.
Defendant disrupts the hearing
Rudakubana faced three counts of murder, 10 of attempted murder and additional charges of possessing a knife, the poison ricin and an al-Qaida manual. He unexpectedly changed his plea to guilty on all charges on Monday.
But he wasn’t in court to hear sentence passed on Thursday.
Hours earlier he had been led into the dock at Liverpool Crown Court in northwest England, dressed in a gray prison tracksuit. But as prosecutors began outlining the evidence, Rudakubana interrupted by shouting that he felt ill and wanted to see a paramedic.
Goose ordered the accused to be removed when he continued shouting. A person in the courtroom shouted “Coward!” as Rudakubana was taken out.
The hearing continued without him.
Horror on a summer day
Prosecutor Deanna Heer described how the attack occurred on the first day of summer vacation when 26 little girls were “gathered around the tables making bracelets and singing along to Taylor Swift songs.”
Rudakubana, armed with a large knife, intruded and began stabbing the girls and their teacher.
The court was shown video of the suspect arriving at the Hart Space venue in a taxi and entering the building. Within seconds, screams erupted and children ran outside in panic, some of them wounded. One girl made it to the doorway, but was pulled back inside by the attacker. She was stabbed 32 times but survived.
Gasps and sobs could be heard in court as the videos played.
Heer said two of the dead children “suffered particularly horrific injuries which are difficult to explain as anything other than sadistic in nature.” One of the dead girls had 122 injuries, while another suffered 85 wounds.
A teenager obsessed with violence
The prosecutor said Rudakubana had “a longstanding obsession with violence, killing, genocide.”
“His only purpose was to kill. And he targeted the youngest and most vulnerable in society,” she said, as relatives of the victims watched on in the courtroom.
Heer said that when he was taken to a police station, Rudakubana was heard to say: “It’s a good thing those children are dead, I’m so glad, I’m so happy.”
The killings triggered days of anti-immigrant violence across the country after far-right activists seized on incorrect reports that the attacker was an asylum-seeker who had recently arrived in the U.K. Some suggested the crime was a jihadi attack, and alleged that police and the government were withholding information.
Rudakubana was born in Cardiff, Wales, to Christian parents from Rwanda, and investigators haven’t been able to pin down his motivation. Police found documents about subjects including Nazi Germany, the Rwandan genocide and car bombs on his devices.
In the years before the attack, he had been reported to multiple authorities over his violent interests and actions. All of the agencies failed to spot the danger he posed.
In 2019, he phoned a children’s advice line to ask “What should I do if I want to kill somebody?” He said he had taken a knife to school because he wanted to kill someone who was bullying him. Two months later, he attacked a fellow student with a hockey stick and was convicted of assault.
The definition of terrorism
Prosecutors said Rudakubana was referred three times to the government’s anti-extremism program, Prevent, when he was 13 and 14 — once after researching school shootings in class, then for uploading pictures of Libyan leader Moammar Gadhafi to Instagram and for researching a London terror attack.
But they concluded his crimes should not be classed as terrorism because Rudakubana had no discernable political or religious cause. Heer said “his purpose was the commission of mass murder, not for a particular end, but as an end in itself.”
Prime Minister Keir Starmer said this week the country must face up to a “new threat” from violent individuals whose mix of motivations test the traditional definition of terrorism.
“After one of the most harrowing moments in our country’s history, we owe it to these innocent young girls and all those affected to deliver the change that they deserve,” Starmer said after the sentencing.
Wrenching testimony from victims
Several relatives and survivors read emotional statements in court, describing how the attack had shattered their lives.
Lucas, 36, who ran the dance class, said that “the trauma of being both a victim and a witness has been horrendous.”
“I cannot give myself compassion or accept praise, as how can I live knowing I survived when children died?” she said.
A 14-year-old survivor, who can’t be named because of a court order, said that while she was physically recovering. “we will all have to live with the mental pain from that day forever.”
“I hope you spend the rest of your life knowing that we think you’re a coward,” she said.
The prosecutor read out a statement from the parents of Alice Da Silva Aguiar, who said their daughter’s killing had “shattered our souls.”
“We used to cook for three. Now we only cook for two. It doesn’t seem right,” they said. “Alice was our purpose for living, so what do we do now?”
This story was originally published by The Associated Press.
From a pop music perspective, the Donald Trump inauguration seemed normal enough. After Trump’s inaugural address, Carrie Underwood sang “America the Beautiful” — a cappella, in the wake of an audio malfunction. Jason Aldean and Rascal Flatts performed at the inaugural ball; other events featured Nelly, Gavin DeGraw and the Village People; Snoop Dogg even played the Crypto Ball. It was a far cry from eight years ago, when Trump’s first inaugural featured a comparatively anemic lineup of Toby Keith, Jennifer Holliday and 3 Doors Down. Back then, Billboard reported that the 2017 event “has been hobbled by the perception that major entertainment industry names have refused invites to perform at the festivities.”
The reaction of many artists and music executives to Trump’s first term was to hope there wouldn’t be a second. Artists spoke out against him, and those who supported him took their share of criticism for it. (The exception is Lee Greenwood, who has become so associated with Trump that it’s almost hard to remember a time when he wasn’t.) Oddly, the president for whom the music business had so much contempt probably helped it more than President Barack Obama, who championed technology companies at the expense of rights holders, while Trump signed the Music Modernization Act.
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That was then.
Now — well, now things are different. The artists who supported Kamala Harris found out how much power they have — less than they thought. (Remember all that talk about the Swiftie vote?) Mark Zuckerberg and Jeff Bezos, who have real power — they don’t just participate in the conversation, they steer it — had VIP seats at the inauguration. Then there’s Elon Musk, who has used the influence of X in ways that might help Elon Musk (who, when he’s not hating the government, does plenty of business with it). If such powerful CEOs stand behind Trump, who are artists to stay home?
Maybe that’s why artists who seem to hate Trump turned around. Snoop once told DJ Suss that Trump’s supporters were “racist” and starred in a video in which he pulled a fake gun on the character “Ronald Klump.” (The Crypto event at which Snoop performed was independent but Trump embraced the technology by issuing a meme coin.) Village People frontman Victor Willis, who in 2020 asked Trump to stop playing “Y.M.C.A.” and “Macho Man” at his rallies, said on Facebook that the group “accepted an invitation from President Elect Trump’s campaign to participate in inaugural activities.”
These artists aren’t known for their politics — at this point, Snoop’s brand is mostly about being a brand, and Willis seems to relish the exposure Trump gives his songs. (In the Facebook post that announced the Village People performance, Willis also threatened to sue any news organizations that refer to “Y.M.C.A.” as a gay anthem, “because it is damaging to the song.” I will simply note that it originally appeared on the Village People album Cruisin’.) But their actions make other artists less likely to shy away from the new administration. Because the truth is that millions of Americans voted for Trump and those who object to his politics — including myself, incidentally — won’t change their listening habits over anything like this.
Over the past decade or so, “cancel culture” has put pressure on creators and companies to change by trying to ensure that bad behavior has consequences. The problem is that the actual consequences rarely materialize — of all the artists who transgressed and faced online criticism, only R. Kelly saw his popularity plummet, and only after years of accusations, plus multiple convictions. After Morgan Wallen was seen on video using a racial slur in 2021, his radio play plummeted, he was dropped by his booking agent, and his recording contract was “suspended” — but his career recovered within a year. Kanye West still books big venues.
The idea of cancel culture was that the creative sector could pull politics to the left — that if artists and companies pursued more progressive policies, government would follow. Instead, the opposite is happening: Politics is pulling pop culture to the right. Some of this isn’t viscerally ugly — the crypto event that Snoop played isn’t racist or sexist. But unregulated currencies are get-rich-quick schemes backed by arch-libertarian politics that give algorithms more power than democracy.
During Trump’s first term, there was a great deal of #resistance, and the Democrats seemed energized. This isn’t who we are, we told ourselves — it’s an aberration. And for four years starting in 2020, it seemed like that was the case. Now the Democrats are in disarray, united only by their opposition to Trump as a leader, when in fact a new poll showed that many of Trump’s policies are more popular than he is. This is who we are, at least at the moment. Many Trump voters want to see acts they like play inaugural events, and there’s going to be a big market for new artists in the same mold. (I love the Linda Lindas, but there’s more money in signing the next Jason Aldean.)
For the last decade or so, companies that took stands on social issues and artists who spoke up for left-leaning politics were accused of “virtue signaling” — doing the right thing to be seen doing it. At the time, it was so easy to do “the right thing” that it was almost harder not to. No longer; now speaking up for liberal values is going to come at a real cost. It will be interesting to see how many creators and companies are going to be willing to pay it.
Civil rights activist Rev. Al Sharpton has criticized the potential jury pool for rapper A$AP Rocky‘s upcoming gun trial, saying that from what he has been told it lacks diversity. In an Instagram post on Wednesday (Jan. 22) Sharpton wrote, “It has been brought to my attention, by the National Action Network Los Angeles office, that out of one hundred and six (106) people called to potentially sit as jurors in A$AP Rocky’s trial in Los Angeles, there are only 4 black people.”
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Rocky (born Rakim Mayers), 36, is facing 24 years in prison if convicted of all charges in the trial in which he is accused of firing a weapon at former affiliate A$AP Relli (born Terrell Ephron) at a Hollywood hotel in November 2021.
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Rocky has pleaded not guilty to two felony counts of assault with a semiautomatic firearm and earlier this week the Harlem native rejected a plea deal offered by prosecutors that would have had him plead guilty to one felony count of assault with a semiautomatic firearm in exchange for a six-month jail stint along with three years of probation and a seven-year suspended sentence. “I respectfully decline, thank you,” Rocky reportedly told the court in turning down the deal.
At press time spokespeople for Rocky and the Los Angeles Superior Court had not returned Billboard‘s request for comment on Sharpton’s claims.
In his note, Sharpton said that although he is not privy to the particulars of the case, he’s been in close contact with Rocky’s friends. “I do know he deserves to be judged fairly by his peers, as is his Constitutional right,” Sharpton wrote. “It is absolutely ridiculous that the jury will be not fair and representative, so as to deprive A$AP Rocky of a fair trial. When we have four (4) black people in the city of Los Angeles, out of one hundred and six (106) — and exactly zero (0) within in the first thirty (30) possible candidates for the jury — something appears to be very wrong with the system.”
According to the U.S. Census Bureau, L.A. county has a population just north of 9.6 million, which is comprised of 69.6% white citizens and 9% Black residents.
At press time Billboard could not confirm the figures in Sharpton’s post. Sharpton said he will monitor the trial and challenged the L.A. district attorney to “ensure that fair and representative justice is afforded” to the rapper.
The A$AP Mob leader was arrested in April 2022 at LAX and posted a $550,000 bond shortly after; he entered his not guilty plea to all charges in August 2022. Relli testified that the bullets grazed his knuckles as the feud reached a boiling point with his childhood friend. This week, Rocky’s lawyer appeared to preview his strategy for the trial when he revealed a defense argument that his client was holding a prop “stater pistol,” which he said can clearly be seen on security camera footage from that night.
Assuming jury selection wraps up soon, the trial could begin by week’s end.
After operating a store on the Sixth Avenue side of Rockefeller Center for a little over four years, Rough Trade is now opening a second location in the complex, the retail chain announced Thursday (Jan. 23).
While the smaller existing store at street level will now be known as Rough Trade Above, and will expand its focus on new vinyl, the new location will cover 4,000 square feet and feature “a large selection of artist/band merch, audio hardware” including turntables and Bluetooth speakers, large sections of new and used CDs and vinyl records, plus movies, collectibles and more.
Since it will be housed in the below street-level retail concourse that connects the world-famous Rockefeller Center to the B/D/F/M subway station, the new store will be known as Rough Trade Below. Just like the Sixth Avenue location, which sees heavy foot traffic walking past the store, located between 49th and 50th Streets in Manhattan, the concourse has a steady crowd flow from the subway. What’s more, the retail concourse, also known as Under 30 Rock, draws office workers from the surrounding office buildings. Altogether, the Rockefeller Center complex — which is home to the annual televised Christmas tree lightening that draws heavy foot traffic during the year-end holidays — enjoys 35 million visitors a year, according to Rough Trade.
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Rough Trade hasn’t yet disclosed a grand opening date for the new store but says it will open sometime this spring, with the company likely targeting an opening before Record Store Day in April.
“We’re extremely excited to be opening Rough Trade Below this spring, helping us further cater to the tremendous demand from music lovers across the five boroughs and beyond,” Rough Trade co-owner Stephen Godfroy said in a statement. “Creating a focus of counterculture in midtown Manhattan has thankfully proved to be a wildly successful move, and we look forward to creating an even stronger creative community as the year progresses.”
One way Rough Trade expects to do that is by bringing back its famed in-store performances, thanks to the new location’s larger footprint. While the smaller 6th Avenue store has hosted acoustic sets — Green Day, for one — and in-store signings, the new store will be able to handle a larger capacity crowd for performances and intends to bring in household names alongside below-the-radar bands across all genres, the company says. Other artists who have held events at the 6th Avenue store include Coldplay, Charlie XCX and De La Soul, among others.
“It’s clear that the ethos of Rough Trade—to narrow the gap between artist and audience—has struck a tremendous chord, here in New York,” Godfroy added. “Creating an even larger mecca for the music lover is an exciting prospect, especially for our intimate live events, where the world’s most exciting artists perform in-store for the admission of purchasing their new album.”
In-store performances were an exciting element of the original New York Rough Trade store, which opened in Brooklyn’s Williamsburg neighborhood in 2013 and closed in 2021. That store, housed in a 10,000-square foot space, was split about evenly between retail space and the club, with the latter hosting live concerts but also doubling as an in-store performance space, albeit one in another room separated from the retail section by a wall.
The new store will have a performance space directly within the store next to CD and vinyl racks on castor wheels, which when moved aside will allow for greater occupancy. According to Godfroy —who responded to an e-mail—the setup will accommodate more “intimacy and magic” at in-stores and “make performances all the more unique, memorable and special, for both artists and fans.”
The goal, Godfroy adds, is to “replicate the successful model of our U.K. flagship, Rough Trade East,” in London.
Since moving to Rockefeller Center, Rough Trade has continued to curate live public events, including its annual iNDIEPLAZA music festival and a quarterly concert series in the complex’s Rainbow Room. The Rough Trade presence has helped Rockefeller Center’s management company, Tishman Speyer, revitalize the complex, allowing it to remain “a dynamic destination” for New Yorkers and visitors, according to EB Kelly, Tishman Speyer’s senior MD and head of Rockefeller Center.
“We are thrilled to have Rough Trade expanding into a second location on campus, and join our Under 30 Rock collection of shops,” Kelly continued. “In just three years, the store has become one of Manhattan’s cultural touchstones and a pillar of Rockefeller Center’s dynamic transformation. New Yorkers have shown us how much they love the experience of the current store on Sixth Avenue, and the new space in our lively Under 30 Rock community will allow even more people to enjoy the musical taste of this legendary shop.”
The new Rockefeller Center location expands Rough Trade’s retail footprint to ten stores — seven in the U.K (of which four are in London, along with outlets in Bristol, Nottingham and Liverpool); one in Berlin; and now two in New York.