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Universal Music Singapore hired Alice Kent as general manager, overseeing day-to-day operations and spearheading efforts to up the UMG division’s presence in the Southeast Asian island country. She reports to UMG chief of South East Asia Calvin Wong, who says Kent “brings with her a pioneering spirit and a wealth of experience from her decades of working in the music and entertainment industry” — including a recent stretch as marketing, partnerships and business development director at Live Nation Entertainment Singapore, and before that senior roles at both Warner Music and Sony Music. Among the many feathers in Kent’s cap include securing sponsorship deals for Blackpink and brokering partnerships with Singtel and PayPal, in addition to working with Billie Eilish and the Singapore Tourism Board.

Alexander Vazelakis was named head of A&R for longstanding dance imprint Ultra Records. This is Vazelakis’ return to the label, where he previously spent nearly a decade working with artists including Sofi Tukker, Icona Pop, Steve Aoki, Anabel Englund and DVBBS. Based in Los Angeles, Vazelakis most recently served as VP of A&R at both Helix Records and Ultra Publishing and now reports to Ultra Records President David Waxman. –Katie Bain

SiriusXM promoted longtime executive Jen Leiweke to vice president of artist and industry relations. Previously a senior director on the talent and industry relations team, Leiweke joined Pandora in late 2010 and has worked across marketing, brand partnerships, live and experiential. In the past year, Leiweke helped develop a major sponsorship framework with American Express around SiriusXM’s Small Stage Series, which has featured performances from John Legend at The Wiltern in Los Angeles and Halsey at Union Transfer in Philly, among others. She also helped launch SiriusXM’s first foray at Miami Art Basel along with partner Chase Sapphire. Prior to joining Pandora, which was acquired by SiriusXM in 2019, Leiweke held positions at Alison Prod Public Relations and AEG.

Marigo Mihalos was also promoted to vice president at SiriusXM, where she oversees the entertainment booking team specializing in film, TV, and lifestyle. Before joining the satellite radio giant, Mihalos launched her own PR agency and later solidified her reputation as a booker on television shows like The Wendy Williams Show and Who Want to Be a Millionaire. Her best-of list of wins at SiriusXM include snagging the entire cast of Elvis for a Graceland appearance and orchestrating a collaboration between Bravo host-with-the-most Andy Cohen and icon-of-icons Dolly Parton at Dollywood. She can be reached at Marigo.mihalos@siriusxm.com.

Nashville-based publishing and artist development company Back Blocks Music expanded its team, adding Autumn Ledgin as senior director of A&R and Elizabeth Cook as creative coordinator. Back Blocks Music was founded by Billboard Power Player and 40 Under 40 recipient Rakiyah Marshall, with a roster including Ashley Cooke, Lily Rose, Blake Pendergrass and Tucker Wetmore. Ledgin previously worked at Good Company Entertainment, as day-to-day manager for the company’s roster, including Jake Owen and Larry Fleet, before adding A&R duties and becoming a board member and planning coordinator for the Jake Owen Foundation. Cook joins Back Blocks Music during her senior year at Belmont University as a songwriting major; she previously interned at Creative Nation and King Pen. –Jessica Nicholson

Believe-owned TuneCore appointed Tash Shah as its new vice president of International at the digital music distributor. Shah is a 12-year veteran at Spotify, where she served as the streaming giant’s first head of marketing in the UK and most recently held the title of director of growth programs. At her new gig, which is based in London, she’ll drive TuneCore’s international growth into new global markets oversee a team across 17 countries, while developing programs to benefit TuneCore’s growing roster of artists and labels. Shah will eventually report to TuneCore’s TBA chief revenue officer, but in the interim will work directly with CEO Andreea Gleeson.

Songtradr appointed Paul Langworthy to chief revenue officer of the music licensing marketplace and distribution platform. Reporting directly to CEO Paul Wiltshire, Langworthy’s focuses will include expanding licensing, music management, and creative branding opportunities, as well as continuing expansion into markets where music rights management remains under-monetized. Langworthy was previously CEO of U.K. digital music company 7digital, which Songtradr scooped up earlier this year for roughly $23 million. At the time of the acquisition, it was announced that Langworthy and the bulk of 7digital’s senior leadership team would join Songtradr. “Paul has a proven track record of successfully managing large teams, multiple revenue streams and has a deep understanding of the complex music rights ecosystem we work in,” said Wiltshire.

ICYMI: Tom Becci joined Concord Label Group as chief executive … peermusic appointed Elizabeth Rodda as president of Latin America and global society relations … About sixty employees are set to be impacted by layoffs at CAA … and Quality Control CEO Pierre “P” Thomas won Billboard’s R&B/Hip-Hop Power Players’ Choice Award.

A2IM hired Melissa White as director of membership and Jasmine Lopez-Alvarez as marketing manager of the independent music advocacy group. In their new roles, White will oversee A2IM’s label relations and membership engagement strategy, while Lopez-Alvarez will manage marketing initiatives and spearhead membership growth. White arrives from sample marketplace Tracklib, where she rose to music catalog director; Lopez-Alvarez has clocked time at SiriusXM, Maruder and HIFI. “Their experience and passion for independent music will play a crucial role in developing our reach and furthering our mission,” said Richard James Burgess, CEO of A2IM. You can reach the pair at melissa@a2im.org and/or jasmine@a2im.org.

Industry veteran Nathalie Rubin joined PR collective Hustle&Co. as account supervisor. Based in Los Angeles and reporting to founder and CEO Jenn DeMartino Callister, Rubin’s remit will center around driving campaigns for clients including music investment firm Influence Media Partners, destination experience company Vibee and something called Spotify (specifically its EQUAL and GLOW programs). Prior to joining Hustle, Rubin served as publicity manager at Elektra Entertainment, acing press campaigns for the label group’s artist roster found on Fueled by Ramen, DTA Records and the mothership imprint. She kicked off her career with a five-year stretch at BMG Recorded Music, where as in-house publicist she worked directly with a murderer’s row of rock favorites including Evanescence, Thrice, Black Rebel Motorcycle Club and My Chemical Romance’s Frank Iero. She can be reached at Nathalie_Rubin@hustleandco.com.

The Black Music Action Coalition (BMAC), a non-profit organization founded in 2020 to combat systemic racism in the music business, added rapper-activist Cordae and Live Nation Urban president Shawn Gee to its Executive Leadership Council. Cordae and Shawn Gee, who received the Social Impact Award at BMAC’s inaugural annual gala, join a growing list of industry leaders on the ELC, including Dina LaPolt, Wassim “Sal” Slaiby, Jonathan Azu, Tariq Cherif and Jeff Azoff, among others. See a full list here.

VRTCL, a content management and influencer marketing agency, promoted Imani “Mango” Lewis to director of music and Jenn Rilloraza to director of brands and content. In their new roles, Lewis will lead overall strategy and operation of the music and social teams, while Rilloraza will continue working with her team to develop authentic content on behalf of some of the world’s biggest brands. Both report to FH Media CEO, Ash Stahl, who says they “have a proven history of working closely with artist and commercial brands to amplify their messages in ways that are completely authentic.” VRTCL was acquired by Create Music Group in early 2022 and folded into an FH Media roster that also includes influencer brands Flighthouse, Teenager Therapy and Retirement House.

Nashville Notes: Musicians On Call, a Nashville-based nonprofit that brings live and recorded music to the bedsides of patients in healthcare facilities, announced a series of promotions and new hires. Promotions include Kat Weeks to vp of marketing, Torianne Valdez to senior talent manager and PJ Cowan and Caroline Love to senior program managers. New hires include Orenda Senior as program coordinator and Sasha Arnkoff as executive assistant … Triple Tigers hired Nashville-based Blake Nixon as director of Southeast promotion. He previously held a similar role at Show Dog Nashville … Shelby Yoder founded songwriter/producer management company willo&co. She was previously head of Milk & Honey Nashville.

Longtime music executive Steve “Steve-O” Carless has partnered with Warner Records on a joint partnership to start his label Defiant Records. Carless, who is president of A&R at Warner, told Billboard that creating Defiant was a “lifelong mission.”
“I just believe in achieving what you set out to do no matter the risk, test, or obstacle,” he said. “It’s important to be brave and intentional to not lose sight of that. I wanted this to be representative of the career I’ve been privileged to have and also speak to the artists who dream to create their story on their own terms, who aren’t scared to be who they are unapologetically.”

Defiant Records houses burgeoning acts, including Bandmanrill, Sha EK, and McVertt, who teamed to craft the bulky 27-track project The Defiant Presents: Jiggy In Jersey. Executive produced by McVertt (who co-produced Lil Uzi Vert’s Hot 100 top 10 hit “I Just Wanna Rock), Bandmanrill and Sha EK thrive in a playground where Jersey Club and drill music coexist. Having previously worked with Pusha T, Big Sean and the late Nipsey Hussle, among many others, Carless believes his experience will come in handy when building out the careers of his signees. 

“I truly believe that my experience affords these artists an opportunity and mentorship that’s hard to duplicate,” Carless relayed to Billboard. “I have 10,000 hours of experience in management, A&R, digital, and promotions. I’ve been inside a record company for my whole career and have simultaneously operated outside of those buildings as well. I’ve helped build brands and companies and also understand the agency piece of it thoroughly. I think all of that super-serves these artists in a way that can create more unexpected opportunities and expedited learning because it’s a unique situation here at Defiant Records.”

Regarding plans to grow Defiant Records into a powerhouse, Carless has a simple rinse-and-repeat strategy he thinks will be the blueprint for his label. 

“The plans are simple, be authentic and detailed. We set attainable goals, achieve them, and repeat. We will always be the best in our space. The name of the game is to be consistent and curate our big-picture and individual stories simultaneously. Our focus has primarily been YouTube because it’s the most current breeding ground for global talent, and we’ve signed each one of our artists based on their following on the platform.”

Stream The Defiant Presents: Jiggy In Jersey below. 

The organizer of a Malaysian music festival is seeking 12.3 million ringgit ($2.7 million) in losses from British band The 1975, after its lead singer’s on-stage protest of the country’s anti-gay laws prompted authorities to shut down the festival, the company’s lawyer said Friday (Aug. 11).
Future Sound Asia sent a letter to the band on Monday demanding compensation over a breach of contract, said FSA lawyer David Dinesh Mathew.

During the July 21 performance, Matty Healy used profanities in his speech criticizing the Malaysian government’s stance against homosexuality, before kissing bassist Ross MacDonald during the opening show at the Good Vibes Festival in Kuala Lumpur. Footage of the performance was posted on social media and sparked backlash in the predominantly Muslim country.

In Malaysia, homosexuality is a crime punishable by up to 20 years in prison and caning.

The government slammed Healy’s conduct, blacklist the band from the country and cut short the three-day festival. Some in the LGBTQ+ community also took to social media to criticize the band, saying Healy had disrupted the work of activists pushing for change and also endangered the community.

In the letter, Mathew said the band had given a written pledge before the show that it would adhere to all local guidelines and regulations. Instead, Healy’s “use of abusive language, equipment damage, and indecent stage behaviour” caused financial losses to FSA.

“Unfortunately, the assurance was ignored,” Mathew said Friday in a written statement to The Associated Press. “Their actions have had repercussions on local artists and small businesses, who relied on the festival for creative opportunities and their livelihoods.”

As such, he said FSA demanded that The 1975 acknowledge their liability and pay 12.3 million ringgit in compensation for damages incurred. On its website, FSA said it is in the midst of accommodating all refund requests.

The lawyer said FSA will take legal action in the courts of England if the band fails to respond by Monday, a week after the legal letter of claim was sent.

The band canceled its shows in Taiwan and Jakarta, Indonesia, after the fiasco in the Malaysian capital. It wasn’t the first such provocative on-stage display by Healy in the name of LGBTQ+ rights: In 2019, he kissed a male fan during a concert in the United Arab Emirates, which outlaws same-sex sexual activity.

Following his 10-year prison sentence this week for shooting Megan Thee Stallion, Tory Lanez took to Instagram late Thursday (Aug. 10) to maintain his innocence and declare that he won’t “stop fighting till I come out victorious.”
Lanez (real name: Daystar Peterson) — who was convicted on three felony counts in December over the 2020 shooting — addressed the note to his “Umbrellas” fan group.

“I have never let a hard time intimidate me,” he wrote. “I will never never let no jail time eliminate me. Regardless of how they try to spin my words, I have always maintained my innocence and I always will.”

He writes that during his sentencing hearing, he took responsibility for “verbal and intimate moments that I shared with the parties involved,” but not for the shooting itself. “In no way shape or form was I apologizing for the charges I’m being wrongfully convicted of. I remain on the stance that I refuse to apologize for something that I did not do.”

Tuesday’s decadelong prison sentence for Lanez — which comes more than three years after the July 2020 shooting — was more than the probation sought by his lawyers but less than the 13 years prosecutors had suggested. The shooting occurred after Lanez, Megan Thee Stallion (real name: Megan Pete) and their friend Kelsey Harris left a party. According to prosecutors, Meg exited the vehicle and Lanez shot at her feet while shouting, “Dance, bi—!” Lanez was charged with the shooting in October 2022.

Read Lanez’s new statement in full below:

To The Umbrellas,

I have never let a hard time intimidate me. I will never never let no jail time eliminate me. Regardless of how they try to spin my words, I have always maintained my innocence and I always will.

This week in court I took responsibility for all verbal and intimate moments that I shared with the parties involved. … That’s it.

In no way shape or form was I apologizing for the charges I’m being wrongfully convicted of. I remain on the stance that I refuse to apologize for something that I did not do.

I’ve faced adversity my whole life and every time it looked like I would lose, I came out on top. This is nothing but another moment where my back is against the wall and I refuse to stop fighting till I come out victorious.

Tough times don’t last, tough people do.

To my family, friends and umbrellas thank you for your continued support.

See you soon.

Amid a production halt during a double strike, major talent agency CAA is undergoing a round of layoffs.

About sixty employees are set to be impacted — including agents, executives and support staff — within the next week, a source tells The Hollywood Reporter. The figure is a relatively small percentage of the thousands of staffers that work at the Century City-based representation giant led by Kevin Huvane, Richard Lovett and Bryan Lourd.

Multiple departments had been evaluating staffing levels even prior to when the Writers Guild of America strike began on May 2. When performer’s union SAG-AFTRA joined the strike on July 13, Hollywood settled in to a long summer as the dealmaking ecosystem ground to a halt.

Several talent agencies have cut staff in the ensuing months as the guilds faced off with the Alliance of Motion Picture and Television Producers, which bargains on behalf of studios. For instance, Endeavor, the owner of fellow “Big 3” agency WME and fashion-focused IMG, estimated on August 8 that the impact of the actors’ and writers’ strikes would be about $25 million per month in revenue.

Talent and literary agency Verve, which reps many scribes, cut about 60 percent of its assistants and 3 agents in late May. And Big 3 firm UTA had already made a round of cuts, which it described as a single digit percentage of a workforce that totals 2,000 employees, in February.

Hollywood’s agencies went through retrenchment and conducted notable layoffs or furloughs during the COVID-19 shutdowns in the middle of 2020, also at a time of a widespread production halt. At that time, in July 2020, CAA said it cut 90 agents and executives and further furloughed 275 assistants and other staffers.

Since that time, CAA made the most consequential move in the Hollywood talent agency space, acquiring rival firm ICM in a megadeal that closed last June and added 425 of its employees to the payroll, with 105 staffers cut. At the time, the combined company was said to have 3,200 employees in 25 countries.

Deadline earlier reported CAA’s planned cuts on Thursday. 

This article was originally published by THR.com.

Amazon Music reached a new merchandise integration with concert-discovery platform Bandsintown that will allow fans across the globe to shop merch items from artists while browsing their artist profile pages on the Bandsintown website and app. Under the integration, more than 590,000 registered artists on Bandsintown for Artists will be able to promote their merch and physical music releases to their Bandsintown followers and the followers of similar artists through in-app notifications, email and social channels. The merch available on Bandsintown will be drawn from the Amazon Music Artist Merch Shop on Amazon.com, developed and curated by the Amazon Music team.

Oliver Chastan‘s artist and brand development company Iconoclast acquired the producer royalties of composer, songwriter and producer Giorgio Moroder. The company will additionally work with Moroder on the development of his name, image and likeness rights. Over the course of his career, Moroder has collaborated with artists including Berlin (“Take My Breath Away”), Donna Summer (“I Feel Love”, and Blondie (“Call Me”). His work as a film composer includes scores and songs for Midnight Express, Top Gun, Scarface and Flashdance.

CTS Eventim increased its stake in France Billet from 48% to 65%, making it the majority owner of the French ticketing company. CTS Eventim acquired the 48% stake in France Billet back in 2019 — a deal that included an option to acquire a majority stake in the company this year.

Reactional Music, the maker of an interactive music engine for video games, reached a global partnership with Southeast Asian games publisher Amanotes, whose games attract more than 100 million monthly active users, according to a press release. The deal will allow Amanotes gamers to personalize their personas and gameplay with their favorite music while also allowing Amanote to tap into a faster and more efficient method to create and prototype music in its games.

Toyota is now the name-in-title sponsor of the Concord Pavilion in Concord, Calif., which will now be known as Toyota Pavilion at Concord. The move is sponsored by the Northern California Toyota Dealers Association, which is composed of 58 local Toyota dealers operating in the region. Upcoming shows at the venue in 2023 include Sting, Snoop Dogg, Jelly Roll, Culture Club and Beck.

PRS for Music and PPL announced a new partnership with music technology company Audoo. Under the deal, Audoo’s Audoo Audio Meters — which aim to ensure “accurate and transparent” royalty distribution to music creators by identifying background music being played in businesses, according to a press release — will be installed in businesses including cafes, bars, hair salons, restaurants and retail establishments across the United Kingdom, with usage data reported back to PRS and PPL.

Live Nation signed a multi-year partnership with Montana-based promoter Logjam Presents. Under the agreement, Live Nation will invest in Logjam, of which the Checota family will retain ownership and continue to manage day-to-day operations for. “Out of state national and regional promoters are already actively promoting in venues around the state. This new partnership will allow Logjam to remain competitive as a Montana-based promoter and will retain our event booking, marketing, management and, most importantly, 100 percent of our staff locally,” said Logjam president Nick Checota in a statement. “Our new partnership will also provide Logjam access to an incredible artist network and will provide additional capital to improve existing venues and explore opportunities in other Montana regions.”

Desertscene and Old Empire, both independent heavy music promoters, announced a partnership “merging our distinct styles and unyielding passion for live music,” according to a statement by Old Empire founder Josh Retallick. Based in the United Kingdom, Old Empire promotes artists including Heilung, Chelsea Wolf, SUNN O))) and Electric Wizard. Desertscene books and promotes Desertfest festivals in London, New York and Berlin as well as in Antwerp, Belgium and Oslo, Norway.

Universal Music Group’s music merchandise and brand management company Bravado partnered with brand licensing and extension agency Redibra as its official licensing agent in Brazil. “We are thrilled to have the opportunity to create incredible products and experiences for the dedicated music fan community in Brazil,” said Redibra CEO David Diesendruck in a statement.

Under a new partnership, Primary Wave Music, Sun Records and TC Restaurant Group will expand Nashville’s music-themed eatery Sun Diner — inspired by Sun Records artists like Elvis Presley and Johnny Cash — to additional locations across the United States; a second location opened Aug. 3 in Gatlinburg, Tenn. Primary Wave acquired the rights to Sun Records in 2021.

Long before signing Nirvana and the Foo Fighters to their respective record labels and, later, becoming AEG Presents’ global touring and talent president, Gary Gersh was a devoted The Band fanatic. While working at Licorice Pizza in California, he saw the influential rock ‘n’ rollers perform numerous times, and as a young Capitol Records employee, he befriended Robbie Robertson, who died Thursday at 80, during The Band’s The Last Waltz farewell concert.

By phone from a Minneapolis airport, Gersh recalls his early encounters with The Band; coaxing Robertson into recording his 1987 self-titled solo debut while working as a Geffen Records A&R man; and long conversations with the guitarist and songwriter in Woodstock, N.Y.

How did you come to be involved with The Last Waltz?

I was a young guy starting out, and The Band were on [Capitol] and doing their thing when they decided The Last Waltz would be the last show. I get up there for rehearsals, and for the show itself, and it was monumental. I watched Robbie in the middle of it all, being different than a musician — he was always talking to cameramen and Mr. [Martin] Scorsese [who directed the 1978 film documenting the event]. It was a beginning of an education. Robbie helped raise me and I was fortunate to have somebody so unbelievably talented and so beautiful as a human being teaching me so much.

What moment do you remember most from that concert?

Robbie was front and center in a way he had never been seen before. Not necessarily the most important member, because the beauty of The Band was the quality of the whole and everybody mattered, but Robbie was the star on screen. Because of the way everything was captured, all of a sudden people were seeing this guy as one of the greatest live guitarists that ever lived.

How did you get to Capitol Records back then?

Gary Gersh photographed on Oct. 21, 2019 at AEG Presents in Los Angeles.

Sally Peterson

I had come from a chain of record stores, Licorice Pizza, and Capitol was my first record-company job. The Band had put out a Christmas song [“Christmas Must Be Tonight,” recorded in 1975 and, released two years later] as a single, and I was crazy for it. I was just this guy at the record label, at the very, very bottom, jumping up and down and screaming about The Band. They weren’t the biggest priority at the time, because they weren’t the biggest band, but, to me, they were the most influential band in American music. I saw them play at the Santa Barbara Bowl when I was in my late teens and it was probably well over 100 degrees. Robbie was dressed up in a suit and they were all just dying from the heat, but there they were, just being The Band, and they crushed every time I saw them.

You helped him make Robbie Robertson — how did that come about?

One of the first things I did as an A&R guy was sign Robbie and talked him into making solo records, which, at the time, he wasn’t thinking of doing. I said, “You can’t stop making music. You can do whatever else you need to do, but you can’t stop making music.” I kind of didn’t know what I was talking about, but I think he got that I could be a partner on the ride.

What was making that album like?

He was developing what he wanted his sound to be while we were working on the record. I had always known that [producer] Daniel Lanois was the guy to make the record, and Robbie knew it but had never met him. They hit it off famously. … Daniel pushed Robbie in ways I’m not sure had ever happened before. Robbie had always written multiple verses and had extra lyrics from all the songs. I had never seen that before. There were whole verses being moved in a way that took all of us to see and help develop.

Was there a moment that stands out from that process?

When the first solo album was finished, we mixed the record with [engineer] Bob Clearmountain at Bearsville Studios [in Woodstock, N.Y., site of many Band recordings], which Robbie obviously had a real history at. The day we got to Woodstock, we got a six-pack and he took me over to Big Pink, and we sat on the curb, and I just started asking questions. He was one of the greatest storytellers, whether he was talking about a meal at dinner or a film or music. He talked about how, once they got into the house, they started writing songs from fragments of things. And how Robbie thought each piece was like an actor in a play or a movie, and how they would come and go in a way that made it so cinematic.

When was the last time you saw him?

I talked to him a few weeks ago — he knew my family and knew my wife, and we had young kids and were starting to raise a family, and he had already had one.

Anything else you’d like to add?

He introduced me to so many people — so many musicians — that I had never thought in my life I would know. But he felt it would be part of my education. Van Morrison was just on the music system here [at the airport]. I remember meeting Van because Robbie introduced me to him when they were working on a song [“Wonderful Remark”] for the [1983] King of Comedy soundtrack. I hear things and I’m just reminded everywhere I go. I think that’s the way it is with great teachers. It never leaves you.

Futureverse — a multi-hyphenate AI company — published a new research paper on Thursday (June 9) to introduce its forthcoming text-to-music generator. Called Jen-1, the unreleased model is designed to improve upon issues found in currently available music generators like Google’s MusicLM, providing higher fidelity audio and longer, more complex musical works than what is on the market today.

“Jen is spelled J-E-N because she’s designed to be your friend who goes into the studio with you. She’s a tool,” says Shara Senderoff, co-founder of Futureverse and co-founder of Raised in Space, about the model in an exclusive first-look with Billboard. Predicted to release in early 2024, Jen can form up-to three minute songs as well as help producers with half-written songs through offering ‘continuation’ and ‘in-painting’ as well.

‘Continuation’ allows a music maker to upload an incomplete song to Jen and direct the model to create a plausible idea of how to finish the song, and ‘in-painting’ refers to a process by which the model can fill in spaces of a song that are damaged or incomplete in the middle of the work. To Aaron McDonald, the company’s co-founder, Jen’s role is to “extend creativity” of human artists.

When asked why Jen is a necessary invention during a time in which producers, songwriters and artists are more bountiful than ever, McDonald replied, “I think musicians throughout the ages have always embraced new technology that expands the way they can create music,” pointing to electronic music as one example of how new tools shape musical evolution. “To imply that music doesn’t need [any new] technology to expand and become better now is kind of silly… and arbitrary.”

He also sees this as a way to “democratize” the “high end of music [quality],” which he says is now only accessible to musicians with the means to record at a well-equipped studio and with trained technicians. With Jen, Johnson and Senderoff hope to satisfy the interests of professional musicians and to encourage newcomers to dabble in songwriting, perhaps for the first time. The two co-founders imagine a world in which everyday people can create music, and have nicknamed the products of this type of user as ‘AIGC,’ a twist on the term User Generated Content (or ‘UGC’).

Futureverse was formed piecemeal over the last 18 months, merging eleven different pre-existing AI and metaverse start-ups together into one company to make a number of creative AI models, including those that produce animations, music, sound effects and more. To power their inventions, the company employs the AI protocol from Altered State Machine, a company that was founded by Johnson and included in the merger.

Senderoff says Jen will also be a superior product because Futureverse created it with the input of some of music’s top business executives and creators, unlike its competitors. Though Senderoff does not reveal who the industry partners are or how Jen will be a more ethical and cooperative model for musicians, but she assures an announcement will be released soon providing more information.

Despite its proposed upgrades, Futureverse’s Jen could face significant challenges from other text-to-music generators named in the new research paper, given some were made by the world’s most established tech giants and have already hit the market, but McDonald is unperturbed. “That forces us to think differently. We don’t have the resources that they do, but we started our process with that in mind. I think we can beat them with a different approach: the key insight is working with the music industry as a way to produce a better product.”

Ivan Cornejo has signed a record deal with Interscope Records, the Universal Music Group-owned label announced today (Aug. 10). The música mexicana singer-songwriter had been signed to indie label Manzana Records since 2021.

The 19-year-old artist went from social media phenomenon to chart-topping artist when he topped Billboard‘s Latin Songwriters chart dated Oct. 30, 2021 thanks to his hit sierreño anthem “Está Dañada,” which then became only the second regional Mexican song to enter the Hot 100 tally. The track later got a remix featuring Jhayco. Last year, he scored his first No. 1 on the Regional Mexican Albums with his sophomore album, Dañado, and he won new artist of the year the 2022 Billboard Latin Music Awards.

“I am really excited to begin this new chapter of my career,” Cornejo said in a statement. “It’s been a long road even though my career is young and we have built a really strong foundation up until now. I am looking forward to working with John and Nir and the entire team at Interscope to continue to build and take my project to the next level.”

Cornejo made his Lollapalooza debut on Aug. 5, where he officially kicked off his Terapia Tour, which will make stops in major cities such as New York, Atlanta, Dallas and Houston before wrapping up with two back-to-back shows in Chicago on Nov. 16-17.

“At Interscope we have always been attracted to artists who move culture, and Ivan has already proven he is on that path,” said John Janick, chairman and chief executive officer of Interscope Geffen A&M Records. “He is absolutely one of the most exciting new artists in music and we are looking forward to working with him and his team on the next chapter of his incredible career.”

“Ivan is truly a special artist, a songwriter of depth and a masterful live performer,” said Nir Seroussi, Interscope executive vice president, who oversees Interscope’s efforts in Latin music. “In a very short time he built a passionate and loyal fanbase which has propelled him up the charts. We’re so proud that he’s chosen Interscope as his new creative home.”

Ivan Cornejo’s move from an indie Latin label to a mainstream label comes just two months after Interscope signed Karol G, joining a roster of Latin acts that include Kali Uchis, Cuco and Bad Gyal, among others.

Apple will get to keep rules barring developers from directing users to avenues that allow them to bypass a commission on sales in the App Store, where the company exacts a toll of up to 30 percent on all transactions, pending an appeal to the U.S. Supreme Court. Justice Elena Kagan on Wednesday denied a bid […]


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