Business
Page: 365
Jimmie Allen has been dropped by his record label BBR Music Group, the company confirmed to Billboard, just hours after a second woman sued the singer for sexual assault.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
“BBR Music Group has dissolved its relationship with Jimmie Allen, he is no longer an active artist on its roster,” said the label in a brief statement sent to Billboard. Variety first broke the news of BBR’s move and the second lawsuit Friday (June 9).
BBR Music Group had earlier placed Allen on suspension after he was previously accused of repeated rape and sexual harassment by a “Jane Doe” who had worked as a day-to-day manager at the singer’s former management company, Wide Open Music. In the wake of that May 11 allegation, Allen was also placed on suspension by his booking agency, UTA, and his then-management company, The Familie; while his public relations company, Full Coverage Communications, stopped working with him altogether. He was additionally dropped from the performer lineup at CMA Fest.
Allen has strongly denied the allegations from the first lawsuit, calling them “false” and vowing to “mount a vigorous defense” and “take all other legal action necessary to protect my reputation.”
In the suit filed Friday, an unnamed woman accused Allen of battery, assault and invasion of privacy. She claimed that after meeting Allen on a flight, she agreed to meet him in Las Vegas in July 2022. Among other claims, she alleged that while having sex with Allen in his Las Vegas hotel room, he ejaculated inside her without her consent and secretly filmed the encounter.
The woman further claims that, after being unable to fully delete the video from the sleeping Allen’s phone, she left with it and booked a new flight back to her home in Sacramento, where she reported the incident and turned the phone over to the local police department. The Sacramento police subsequently reported it to the Las Vegas Metropolitan Police, though Billboard‘s request for any public records linked to the report, submitted to the Las Vegas Metropolitan Police through an online portal, was not immediately fulfilled.
The attorney who filed both cases, Elizabeth A. Fegan, said in a statement to Billboard that the new claims represented a “distinct pattern of behavior” by Allen and said she had “heard from others who share similar experiences.”
Allen’s attorney did not respond to a request for comment on the second lawsuit. UTA and The Familie did not immediately respond to request for comment on whether their status with Allen had changed following the new charges.
Allen’s career had been on an upward trajectory since his first single for BBR, “Best Shot,” hit No. 1 on Billboard’s Country Airplay chart in 2018. He scored two subsequent No. 1s with “Make Me Want To” and “Freedom Was A Highway” (with Brad Paisley), while “Down Home” reached No. 2. BBR was working Allen’s newest single, “Be Alright,” to country radio last month when the first lawsuit was filed, but stopped working it after the label suspended Allen. It reached No. 57 before quickly falling off the chart.
The Billboard Global Music Index improved 1.8% to 1,270.57 in the week ending June 9, marking gains in successive weeks and four out of the last six weeks. iHeartMedia was the index leader for the second straight week. Shares of the radio company were up 13.5% to $3.54 a week after rising 30.5%. Thirteen of […]
A Tennessee man pleaded guilty Friday to helping two other men charged with fatally shooting rapper Young Dolph in a daytime ambush at a Memphis bakery.
Jermarcus Johnson, 26, pleaded guilty to three counts of accessory after the fact. Judge Lee Coffee approved a plea deal with prosecutors, allowing him to avoid trial. He could testify at a future trial in the November 2021 killing of Young Dolph, whose real name was Adolph Thornton Jr.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
Johnson is the first of four defendants to plead guilty or be convicted in the Young Dolph shooting, which rattled Memphis and shook the entertainment world. The 36-year-old rapper, label owner and producer was buying cookies near his boyhood home in Memphis when he was gunned down by two men who drove up to the bakery in a stolen Mercedes Benz, authorities said.
Johnson acknowledged helping the two shooting suspects communicate by cellphone after the killing while they were on the run from authorities and helping one of them communicate with his probation officer after the killing.
During questioning by prosecutor Paul Hagerman, Johnson acknowledged taking possession of car a from shooting suspect Justin Johnson, his half brother. The car was not the one tied to the killing, Hagerman said. Jermarcus Johnson also identified a photo in which Justin Johnson was wearing the same clothing as one of the two shooters accused of gunning down Young Dolph the day the rapper was killed.
Hagerman said Jermarcus Johnson had no role in the actual killing of Young Dolph, but he was one of “multiple players” doing different things in connection with it.
Hagerman said after the hearing that dealing with a case with several defendants is “a little bit like chess.”
“You’ve got to set up your pieces,” he said.
Jermarcus Johnson was initially charged with the more serious offence of conspiracy to commit first-degree murder, an indictment said. Jermarcus Johnson helped Justin Johnson communicate with the other suspect, Cornelius Smith, the indictment said.
Jermarcus Johnson’s lawyer, Josh Corman, told reporters his client was an unwilling participant who was dragged into the aftermath of the killing.
“Sometimes it’s one of those lessons of, you have to be careful who you know and who you associate with,” Corman said. “In this case, it was a half brother of his who showed up to his apartment one day and had a phone and a car.”
Justin Johnson and Smith have pleaded not guilty to charges including first-degree murder. The fourth man accused in the indictment, Hernandez Govan, also has pleaded not guilty to first-degree murder. Govan is accused of arranging the killing.
A motive for the killing has not been disclosed.
Young Dolph was known in Memphis for his charitable works and his success as an independent musical artist and businessman. When he was killed, Young Dolph was in the city to visit a sick relative and hand out Thanksgiving turkeys at a church.
After his death, Memphis named a street after him and the Memphis Grizzlies of the NBA honored him during a game. Murals of the rapper have been painted around the city and a pop-up museum featuring him was opened earlier this year.
The bakery, Makeda’s Homemade Cookies, became an impromptu memorial site for the slain rapper. It was closed for months after the shooting, but has since reopened.
Justin Johnson and Smith are being held in jail. Govan was given a $90,000 bond based on safety and health issues and he is on house arrest.
Johnson faces six to 12 years in prison at sentencing at a later date.
Ten years into his career, Lil Durk keeps putting up numbers. The Chicago rapper first broke onto the scene in 2013 from the drill scene in his hometown, before cycling through the Def Jam system and re-igniting his career a number of years later, landing his first No. 1 album on the Billboard 200 as a solo artist last year with 7220. But this week, he one-upped himself again: Durk’s new album, Almost Healed (Alamo Records), debuted at No. 3 on the Billboard 200 — behind heavyweights Taylor Swift and Morgan Wallen — and became his fourth straight No. 1 on Top R&B/Hip-Hop Albums, moving 125,000 equivalent album units, his best mark of his career and the biggest debut week for a project on the R&B/Hip-Hop Albums chart this year so far.
But that’s not all — Durk also landed his highest mark as a lead artist on the Hot 100, when his single “All My Life” feat. J. Cole debuted at No. 2 on the chart, matching the highest mark for each artist (Durk previously hit No. 2 as a featured artist on Drake’s “Laugh Now, Cry Later”) amid 15 songs he landed on the Hot 100 this week. It’s a high-water mark for Durk’s career in a number of ways — and the success helps his manager, Grade A Productions partner Peter Jideonwo, earn the title of Billboard’s Executive of the Week.
Here, Jideonwo, who started working with Durk ahead of this album, talks about the work that went into making this a success, helping push Durk’s career forward after a decade in the game and the state of hip-hop in a year dominated by country, R&B and Latin music on the charts.
“We are sometimes too focused on the music and not everything else around it,” he says, eyes to the future. “Durk can be bigger than what we have just accomplished.”
This Week, Lil Durk’s Almost Healed debuted at No. 3 on the Billboard 200 with 125,000 equivalent album units, the biggest week of his career as a solo act. What key decisions did you make to help make that happen?
Picking the right single. Making sure all the creatives were on point, picking the right directors, photographers, interviews as well as directing videos. Making sure features were completed. Introducing Durk to Dr. Luke, who helped create “All My Life.” “All My Life” was the first record me and Durk did together and “Stand By Me” was the second. Visiting all the DSPs ahead of time before the album came out. Creating outside-the-box marketing strategies to push the narrative of a new and better Durk.
Lil Durk performs during Future and Friends “One Big Party Tour” at United Center on Jan. 20, 2023 in Chicago.
Prince Williams/Wireimage
The album was set up by “All My Life” feat. J. Cole, which matched Durk’s all-time high on the Hot 100 when it debuted at No. 2. What did you do to help that song cut through immediately and debut so high?
The song was created by Durk, Luke and J. Cole. The first session I ever did for Durk was putting that record together. Durk and Cole had a relationship, but I had to follow up for over five weeks to get the verse from J. Cole. The video was shot by my production company and produced by me. Setting up Durk’s scholarship fund with Howard [University], meeting the Mayor [of Chicago] and doing positive things in the community, was what we had to do to make sure the record connected properly.
Almost Healed’s first week is also the largest debut week for a project on the R&B/Hip-Hop Albums chart in 2023. In a year where the top of the charts have been dominated by country, R&B and Latin music, is it tougher to break through with a hip-hop album, or do you just see these things as going in cycles?
Yes I think so; hip-hop is dying, unfortunately. I say so because we have lost Juice [WRLD], X[XXTentacion], Mac Miller, [Young] Thug to jail, careers like Boston Richey and Gunna tainted by snitching accusations. Our industry in is a self-inflicted turmoil that I do not see reversing anytime soon. We don’t have a stronghold of artists anymore and there is no togetherness. We are also dealing with over-saturation and not enough love shown to our currently-established artists. The only way to fix it is to reduce the amount of people making this music and for our current artists to think outside the box to create new sounds. Everyone makes the same music and the same topics — cars, money, clothes, girls — and that’s not going to take us far anymore. Especially when streamers like Adin Ross and Kai Cenat are pulling hundreds of thousands of kids for hours. They don’t have time to listen to new music, so if you are going to release music it needs to be undeniable or it will not sell.
Durk is now 10 years into his career, and still setting high-water marks in terms of first-week numbers and chart positions. How do you continue pushing his career forward in an era when so much is focused on the next new thing?
We are going to focus on pushing his sound to the next level. I am also focused on making him a household brand, bigger than music. We are sometimes too focused on the music and not everything else around it. Durk can be bigger than what we have just accomplished. Putting out this classic album was very tedious but we are ready to get into tech, gaming, sports, movies: all around new challenges which he hasn’t done yet. We are almost healed.
You’ve been a manager and a label executive in your career. How do you balance the expectations and demands from both?
The easiest way to put it is that I dedicate my life to my clients. I only touch what I love. I am answering these questions on my birthday instead of chilling. We are still working on new things every day, which excites me. I have also been lucky to mostly only work with artists who are signed to me; that has also made my life easy. The music industry is very difficult and the most important thing is to stay ahead of the curve.
How else are you guys planning on continuing to push this Durk project forward?
We are going to keep releasing new music videos. We have an arena tour coming up where we will be performing new records from the album. We are going to put out some new versions of the records, maybe we will get to hear the Kanye West mixes that Durk spoke about in an interview.
Previous Executive of the Week: Austin Neal of The Neal Agency
A federal appeals court has issued a first-of-its-kind ruling that says blasting music with “sexually graphic” and “violently misogynistic” lyrics in a workplace could violate federal discrimination laws.
Reviving a lawsuit against an apparel company that played songs like Too $hort‘s “Blowjob Betty” and Eminem‘s “Stan” at a Nevada warehouse, the U.S. Court of Appeals for the Ninth Circuit ruled Wednesday (June 9) that the music had potentially created a “hostile or abusive environment” for female employees.
“Blasted from commercial-strength speakers placed throughout the warehouse, the music overpowered operational background noise and was nearly impossible to escape,” the appeals court wrote. “In turn, the music allegedly served as a catalyst for abusive conduct by male employees, who frequently pantomimed sexually graphic gestures, yelled obscenities, made sexually explicit remarks, and openly shared pornographic videos.”
The employer, S&S Activewear, argued the music didn’t constitute illegal bias under Title VII of the Civil Rights Act, partly because it had been equally offensive to both men and women. And last year, a federal trial judge agreed, calling the case “fatally flawed” and dismissing it on those grounds.
But in Wednesday’s decision, the Ninth Circuit called that an “absurd interpretation” of the statute — and one that would create a “gaping hole” in discrimination law for any company that chose to be an “equal opportunity harasser.”
The appeals court said it was the first time it had ever ruled on the issue of “music-as-harassment” under the Civil Rights Act. But the judges said that sexist songs should be treated no differently than other situations where a workplace is “polluted with insult and intimidation.”
“[Female employees were] forced to tolerate the music and the toxic environment as a condition of continued employment,” the court wrote. “Whether sung, shouted, or whispered, blasted over speakers or relayed face-to-face, sexist epithets can offend and may transform a workplace into a hostile environment that violates Title VII.”
Importantly, Wednesday’s ruling does not say that S&S definitely violated the law; rather, it says the allegations against the company could have merit if they are eventually proven, and thus that the case should not have been dismissed so quickly. The case will now return to a lower court for more litigation and an eventual trial.
An attorney for S&S did not immediately return a request for comment on the decision.
The case was filed in 2020 by Stephanie Sharp and seven other women who worked at S&S’s Nevada warehouse. As examples of the music they were allegedly forced to listen to, they cited “Blowjob Betty,” including its lyrics about a woman “who dies because of swallowing semen in her windpipe.” They also cited “Stan” and its lyrics about “placing a pregnant woman in the trunk of a vehicle and then driving the vehicle into a river … for the purpose of drowning her.”
Though the songs at issue in the case were mostly hip-hop, Wednesday’s ruling reviving that lawsuit was careful to stress that it was not targeting rap music specifically.
“It is beyond our purview to pass judgment on the appropriateness of music in the workplace writ large,” the court wrote. “Nor is it our objective to ascribe misogyny to any particular musical genre.”
In a statement to Billboard on Friday, lead plaintiffs’ attorney Mark Mausert said he and his clients were “very pleased” with a ruling that used “common sense” to reach the right result: “This opinion will prevent a lot of sexual harassment at a multitude of workplaces,” Mausert said. “It is well written and is pretty much a tour de force of Ninth Circuit law.”
Read the Ninth Circuit’s entire ruling here:
Cory Litwin, founder/CEO of 2wenty2wenty Music Group, is joining Range Media Partners as the newest managing partner in the music division, the company tells Billboard.
Litwin brings with him his roster of more than 25 writers, producers and engineers encompassing multiple genres, including Murda Beatz, Jason “Cheese” Goldberg and Autumn Rowe. Litwin’s team, including managers Brennan Bryant and Ky Zaretsky as well as coordinator Edson Higareda, are also joining Range.
Since taking on management of Murda Beatz in 2014, Litwin has helped the producer rise to become one of the most in-demand hitmakers in hip-hop thanks to successful collaborations with Drake, Travis Scott and Migos. In 2022 alone, Litwin signed Murda Beatz to a global distribution deal with ADA Worldwide, negotiated a catalog sale with Canadian music rights manager Kilometre Music Group and scored him a Las Vegas residency at Hakkasan. Litwin and Murda Beatz also recently co-founded and launched Murda Beatz Psychedelic Water, a non-alcoholic herbal supplement.
Litwin began his career as a party and concert promoter in Toronto. Before joining Range, he served as executive vp at Neil Jacobson‘s Hallwood Media from 2020-23. He has twice been named to Billboard‘s R&B/Hip-Hop Power Players list.
“Cory Litwin adds a much-needed dimension to our already dynamic business,” said Range Music co-founder/managing partner Matt Graham. “He and his team understand the producer and writer representation landscape at the highest level and provide access to tremendous hitmakers that enrich Range Music, feed our burgeoning label and publishing business. Additionally, I have found him to be a leader who acts; motivating those around him to move his client agendas forward at every turn.”
Range Music managing partner Tyler Henry added, “Cory is one of the best managers in the industry, and I couldn’t be more excited we get to partner again after all of these years. He goes above and beyond for his artist, partners, team and family. His abilities as an executive go far beyond music and I can’t wait to see what he accomplishes at Range.”
“I chose Range because I loved the company culture and the partners that had already been assembled,” said Litwin. “One of my favorite quotes is, ‘It’s not about the destination, but about the journey.’ Being able to join somewhere at this point in my journey with so many great partners having varying expertise and experience is exciting and inspiring to me. I’m looking to grow as much as I can and work alongside great people who can help with my growth and the growth of my clients. Here at Range there is an opportunity to expand into the arenas of some of my other passions, including film, television and sports.”
In addition to Litwin, Graham and Henry, the Range Media music division is headed up by Jack Minihan, Melissa Ruderman, Chris Thomas and Evan Winiker, as well as partners Michele Harrison, Greg Johnson, Rachel Douglas, Ace Christian and Joel Zimmerman.
Since launching just over two years ago, the Range music division has established its own label in partnership with Capitol Music Group and Virgin Music & Artist Label Services and brought on clients including Jack Harlow, Saweetie, Justin Tranter, Cordae, Midland, Nova Wav, Nicky Romero, D Smoke, PARTYNEXTDOOR, Hailey Whitters, Lauv, MAX, HARV, Sean Douglas, Wondagurl, Disco Biscuits, Rich the Kid, Yola, Eric Bellinger, Tkay Maidza and Pentatonix.
Afterlife, the house and techno label from longstanding Italian electronic duo Tale Of Us, has entered a partnership with Interscope Records.
Per the terms of the deal, Interscope will distribute all Afterlife releases, including all past and future recordings. This includes the duo’s 2017 album, Endless, and singles dating back to 2011. The Afterlife catalog also includes releases from a fleet of house and techno artists including Argy, ANNA, CamelPhat, Cassian, Colyn, Kevin de Vries, Mathame, and Stephan Bodzin.
The first new release encompassed by the partnership is a collaborative track by Anyma — the solo project from the duo’s Matteo Milleri — and Grimes. This darkly spatial melodic house track, “Welcome To The Opera,” is out today (June 8.) Listen to it below.
As melodic house and techno has risen in popularity in the dance world over the past several years, so too has Tale Of Us’ profile risen into increasingly visible realms. The pair’s Afterlife show has been a huge draw in Ibiza since 2016, with the Afterlife residency launching again at the island’s mega-club Hï this month. Afterlife shows have happened in London, Berlin, Tulum and beyond, with three shows happening at The Brooklyn Mirage this September selling out in 30 minutes. The pair — Milleri and Carmine Conte — have been making music together since 2008 and are now based in Berlin. They signed with CAA last year.
“Interscope Records is a natural partner to help continue our vision and journey,” Milleri says in a statement.
“Over their tremendous careers as artists and label owners, Carmine and Matteo have helped shape dance music culture for an entire generation,” adds John Janick, chairman and CEO of Interscope Geffen A&M. “We are excited to collaborate with them to bring their music to an even larger global audience.”
“Carmine and Matteo have made their distinctive mark in music both as artists and as label owners,” says A&R executive Ryan Roy, who helped bring the duo to Interscope. “Working with them on all of their future recordings as well as with the amazing artists on Afterlife is a massive honor for us.”
Interscope is also home to fellow electronic artists including Zedd, DJ Snake, Prospa and Louis The Child. Upcoming Tale Of Us dates include the Hï residency, Italy’s Kappa Future Festival, Tomorrowland in Belgium and ARC Music Festival in Chicago.
Concord Music Publishing has signed Lindsay Ell to a worldwide publishing administration deal, which includes a selection of Ell’s future works. The Calgary-born country-pop artist is no stranger to the Billboard charts. Her album The Project (2017) reached No. 4 on the Billboard Top Country Albums chart, and her song “What Happens in a Small Town” with Brantley Gilbert peaked at No. 53 on the Hot 100.
Jamie Hartman — the songwriter/producer behind hits by Lewis Capaldi, Calvin Harris, Rag’n’Bone Man as well as a number of songs for film and tv — has sold “the majority of [his] back catalog royalties” to hundreds of his songs, published by Reservoir Media, to Cutting Edge Media Music (CEMM). A UK-based acquirer of film/tv music rights, CEMM’s deal with Hartman marks a foray into the pop music catalog market.
Big Machine Music, a subsidiary of HYBE America, has extended its deals with Laura Veltz, Jessie Jo Dillon and Maddie & Tae. Each of the acts have had a longstanding relationship with BMM, spanning over a decade or more.
Panela Rec Portugal — a global music and entertainment company with offices in Portugal, Brazil and the US — has partnered with BMG Spain to administer and co-publish its catalog. Through its new arrangement, Panela Rec hopes to create new economic opportunities for Portuguese-speaking musicians and to join it more with the Spanish and Latin American markets as well.
Willis Wonderland Foundation has announced its inaugural Next Level Songwriters Workshop. Created in partnership with Primary Wave Music, the camp begins in early June and will focus on providing an inclusive environment for next generation songwriters, particularly women and those from underrepresented groups, to create side by side. The event caries on the legacy of songwriter Allee Willis, who penned songs like “September” “Boogie Wonderland” the Friends theme song, and other hits over a decades-long career. The program will be coordinated by songwriter Autumn Rowe with additional mentorship from Lindy Robbins, Stephen Bray, Shari Short, Shane Stevens, and Elev3n.
Wise Music Group has forged an agreement for the printed music of UK-based classical publisher Faber Music. The move is part of a larger push for Wise to be a world leader in classical music and it follows news in April that the company had purchased a controlling stake in Edition Peters Group as well.
Peermusic has signed British artist and songwriter Karl Michael to an exclusive co-publishing agreement. He is best known for penning songs like “Can We Dance” by The Vamps, “Beautiful Me” by Dappy, and for his appearance on The Voice UK.
A Florida reggae band has decided to drop a copyright case accusing Dua Lipa of copying her smash hit song “Levitating” from their earlier track, two days after a federal judge cast serious doubt on the lawsuit’s allegations.
The band, called Artikal Sound System, sued the star last year over accusations that her 2020 song — which spent 77 weeks on the Billboard Hot 100 chart — borrowed its core hook from their lesser-known 2017 tune, “Live Your Life.”
But in a filing on Wednesday (June 7), attorneys for both Artikal Sound System and Lipa filed a joint motion, asking the judge to permanently dismiss the case. There was no indication that Lipa had agreed to pay any money or change the credits to her song.
The filing came just two days after U.S. District Judge Sunshine S. Sykes ruled strongly for Lipa, saying that there was no sign that anyone involved in creating “Levitating” had had “access” to the earlier song — a key requirement in any copyright lawsuit.
That ruling technically dismissed the case against Lipa, but Judge Sykes gave Artikal Sound System another chance to refile an updated version of the case within two weeks. Instead, the band appears to have decided not to pursue further litigation against Lipa and the other “Levitating” co-writers.
In a statement to Billboard on Wednesday evening, Lipa’s attorney Christine Lepera confirmed that the band had chosen to walk away from the litigation unilaterally and that no settlement had been reached.
“Following the court’s decision dismissing their complaint, the plaintiffs voluntarily chose to discontinue the case with prejudice, without any consideration whatsoever from the defendants, who were prepared to vigorously defend any continuation of the case,” said Lepera, an attorney at the law firm Mitchell Silberberg & Knupp.
An attorney for the band did not immediately return a request for comment.
Artikal Sound System’s decision to drop the lawsuit brings an end to one of two high-profile cases filed against Lipa last year over “Levitating,” which peaked at No. 2 on the Hot 100 before securing the honor of being the longest-running top 10 song ever by a female artist on the chart.
The other case, filed by songwriters L. Russell Brown and Sandy Linzer, claims that Lipa lifted the melody to her track from their 1979 song “Wiggle and Giggle All Night” and their 1980 song “Don Diablo.” That case is still pending but faces similar counter-arguments from Lipa’s lawyers about a lack of “access.”
Artikal Sound System is a reggae band based out of South Florida, founded in 2012 as a duo before later adding additional musicians and vocalist Logan Rex. The band released “Live Your Life” on its 2017 EP Smoke and Mirrors.
In their March lawsuit, the band said the songs sounded so similar that it was “highly unlikely that ‘Levitating’ was created independently.” The lawsuit also named Dua Lipa’s label, Warner Records, as well as others who helped create the hit track.
In November, Lipa’s lawyers argued that Artikal Sound System had no proof that Lipa or the other writers ever heard “Live Your Life” before they wrote “Levitating.” They called the allegations “speculative,” “vague” and supported by little real evidence.
Artikal Sound System offered a complex theory for how such “access” might have happened, stating that one of Lipa’s co-writers had previously worked with a woman who was allegedly taught guitar by the brother-in-law of one band member.
But in her ruling on Monday Judge Sykes flatly rejected that argument: “These attenuated links, which bear little connection to either of the two musical compositions at issue here, also do not suggest a reasonable likelihood that defendants actually encountered plaintiffs’ song.”
Anthem Entertainment, a leading independent publisher, has expanded its partnership with Timbaland, the company announced Wednesday (June 7). Under the new arrangement, Anthem has extended its publishing deal with the songwriter/producer while promising to build on their co-publishing venture, Blue Stone. The company has also invested in Timbaland’s startup, Beatclub. As part of the newly […]