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That Chick Angel, the performance alias of Angel Laketa Moore, signed to the Azoff Company label Giant Music, which just released the music video for her TikTok-driven single, “One Margarita (Margarita Song).” Moore is also an actress, host, influencer and comedian who is currently on tour with her husband, TankDontTok, for their podcast, Is This Going to Cause an Argument. She’s represented by Realm Talent and Framework Entertainment.
Las Vegas singer/songwriter/producer/rapper Ez Mil signed to Shady Records/Aftermath Entertainment/Interscope Records. On August 11, he’s set to drop DU4LI7Y: REDUX, a deluxe edition of his 2022 album DU4LI7Y which will mark his final release on Virgin Music. The new edition will include “Realest,” a new single featuring Eminem. “I heard Ez’s music and was like, ‘this is really special” so I took it to Dre,” said Eminem in a statement. “We both agreed it would be a great fit and we wanted to work with him right on the spot.” Dr. Dre added, “I’m really only interested in working on s— that sounds different from anything else going on out there, and only then if I feel I can really bring something to it. Em played me Ez and I had that feeling…that thing that happens when we both know we’ve found something special.”
Chicago rapper/singer/songwriter Calvin “Calboy” Woods is set to release Unchained, his first album project under his own newly-established label, Loyalty N Company, with distribution through Create Music. The label is described in a press release as “representing his independence and emancipation from the shackles of RCA Records,” Calboy’s former label. The first single off the new set, “On My Own,” was released Friday (July 28).
Independent digital distributor IDOL signed global artist services deals with Nigerian afropop artist Yemi Alade via her own record company, Effyzzie Music, as well as London-based afrowave artist and Capital Xtra DJ Afro B. Alade will work with IDOL on the release of her forthcoming seventh studio album later this year, while Afro B will release several singles leading up to the release of his fourth album set to drop in 2024. Under the agreements, IDOL will handle worldwide digital distribution for all upcoming releases for both artists while also working with the artist teams on strategy, global marketing, international coordination, audience development and channel management.
Dance music agency The Gongaware Group signed DJ/producer and BBC Radio 1 Dance Party host Danny Howard. Gongaware will focus on expanding Howard’s DJ career in North and South America; he currently has residencies at Amnesia Ibiza and BCM in Mallorca, Spain. Howard serves as label head at record company Nothing Else Matters in the United Kingdom.
Old Man Canyon, a psych-pop project from Vancouver singer/songwriter/multi-instrumentalist Jeff Pace, signed to Nettwerk, which released his latest single, “Never Apart,” on July 21. The track will be included on Old Man Canyon’s forthcoming EP, So Long Babylon, which is set for release on September 29.
Canadian pop singer/songwriter Alex Sampson (“Play Pretend”) signed to Warner Records, which released his latest single, “Want You!”, on Friday (July 28). Sampson is managed by Jesse Beer at The MGMT Company.
San Francisco Bay Area alt-pop group Finish Ticket signed with Better Noise Music, which released their latest single, “Changing,” on July 21. The group is represented by Tony Couch at C3 Management and Andrew Buck at Wasserman. Their previous label was Atlantic Records.
Singer/songwriter Jordana Bryant signed with CAA for booking representation. Bryant is signed to Riser House and is aligned with Jonas Group Entertainment for management. Bryant’s upcoming single, “Best Friend,” releases August 11, and she will be touring the United States opening shows for the music trio Girl Named Tom. – Jessica Nicholson
Los Angeles coldwave/post-punk trio Sextile signed to Sacred Bones, which will release the group’s forthcoming album, Push, on September 15. Sextile dropped their latest single, “New York,” on July 25. The band is represented by booking agent Natasha Parish at Grand Control Touring in the United States; they were previously signed to record label Felte.
Queer dance-pop artist Lynks signed to Heavenly Recordings, which released his latest single, “Use It Or Lose It,” on Wednesday (July 26). He is represented by manager Chris Bellam at underplay and booking agent Adele Slater at Wasserman outside the United States. His publisher is Domino Publishing.
Global entertainment brand Superplastic expanded into music with the announcement of its new label, Superplastic Records (distributed by Virgin Music), as well as the signing of Ghost Kidz, a “3D animated hip-hop duo” (comprised of Lil’ ILL and Filth-E) that is “voiced by two prominent hip-hop artists” who have chosen to remain anonymous, according to a press release. The music video for the duo’s single, “Goin’ Off” featuring Vince Staples, was played at Rolling Loud Miami last month. Prior to the label’s announcement, Superplastic’s previous artist collaborations included Staples, J. Balvin and Gorillaz.
Country singer/songwriter Tyler Chambers signed with Play It Again Entertainment for exclusive label representation. Play It Again released Chambers’ latest single, “Loves Me Like a Small Town,” on July 21. Play It Again’s Alyssa Ramsey is currently acting as Chambers’ management; he is signed to Warner Chappell Music for publishing.
Singer/songwriter/guitarist Jesse Ahern singed to Dummy Luck Music/[PIAS], which will release his forthcoming album, Roots Rock Rebel, on September 15. Dummy Luck is the Dropkick Murphys‘ record label. Ahern is represented by Jeff Castelaz and Benton Oliver at Cast Management, booking agent Larry Webman at Wasserman for the United States and booking agent Ed Sellers at Primary Talent Agency for the United Kingdom and Europe.
The American Association of Independent Music, or A2IM, announced on Tuesday that artists who pay a $99 yearly fee will have access to healthcare benefits, including high-and-low-deductible plans, vision and dental, life insurance, renters’ insurance and even pet insurance. The program will expand from indie labels and other member companies to sole proprietors — “specifically designed for individual artists,” said Lisa Hresko, A2IM’s general manager.
“It’s a lot harder for artists to find available programs. What’s available to you is just more limiting in the U.S. if you do not have an employee-sponsored healthcare program,” Hresko added. “To have that option, whether you’re an artist or 1099 worker, should give you peace of mind.”
The healthcare plans, through the new A2IM Artist Pro program, are similar to Affordable Care Act options, but with “slightly more favorable pricing,” according to Hresko. Low-cost plans are available for $160 per month, or $260 for families, but they vary widely according to age, location and medical history. An average plan for a 40-year-old, relatively healthy individual ranges from $330 to $450 per month on the A2IM benefits website, depending on the deductible, a bit less expensive than a 2023 ACA plan.
In September, when the organization offered plans to its more than 600 indie-label member companies, about 30 signed up. The new program “definitely casts a wider net,” focusing on not just company employees but touring artists and others who have more complicated schedules than 9-to-5 employees.
“It’s exhausting on your physical and mental health to be on the road or keeping off-hours,” Hresko said. “Hopefully something like this gives people confidence and safety.”
After the Obama Administration’s signature healthcare plan became law in 2010, musicians were among the gig workers who suddenly no longer had to worry about insurance companies raising healthcare rates due to preexisting conditions. For most artists, the new A2IM plan will supplement the ACA as an option to achieve prescription drugs and emergency care, among other things. But Republicans have sharply attacked the ACA over the years, and programs like A2IM Artist Pro could be crucially important should the political winds change.
A2IM does not take a cut of the health-insurance payments, according to Hresko: “It’s a service for our members.”
She declined to name the organization’s health-insurance partner, to discourage members and potential members from “working their way around us.” Hresko adds: “We spent years searching for a correct partner. It was not a matter of a lack of trying, but what was available and who was willing to work with us. It took a while.”
Four key marketing executives are elevated at Interscope Geffen A&M (IGA), the Universal Music Group-division headquartered at Santa Monica, CA.
Among those enjoying promotions, announced today (Aug. 1), are Ramon Alvarez-Smikle, who rises to executive vice president/head digital marketing; Laura Carter, who is named as executive vice president/head of urban marketing; Chris Mortimer, who is upped to executive vice president/head of digital marketing; and Daniel Sena, promoted to executive vice president/head of strategic marketing at the label.
Each of these executives “has built teams that create consistent opportunities for our artists to build and nurture their fan bases,” comments Steve Berman, vice chairman of Interscope Geffen A&M, in a statement. The promotions, he continues, “reflect how important their work is as we continue to build upon our platform to move culture through music.”
Alvarez-Smikle, who most recently served as SVP, head of urban digital marketing at Interscope, will continue to oversee digital marketing efforts across all of Interscope’s hip-hop and R&B artist roster.
Carter, who is promoted from SVP, head of urban marketing at Interscope Records, will continue to oversee marketing across Interscope’s roster of hip-hop and R&B artists.
Meanwhile, Mortimer will continue to oversee digital marketing campaigns for Interscope’s pop and rock roster of artists. Most recently, he served as SVP, head of digital marketing at Interscope.
And Sena, who most recently served as SVP, head of strategic marketing at Interscope, will continue to oversee brand partnerships across Interscope’s artist roster.
The umbrella label group was unified in 1999 and is a powerhouse in rock, pop, hip-hop and alternative. IGA finished 2020 as the Top Label on Billboard’s year-end charts for the first time since 2013. At the same time, Interscope reigned as the top Billboard Hot 100 Label, and IGA was named as the top Billboard 200 Label.
This marks the second round of promotions in as many weeks, after four of IGA’s top-level executives were promoted into new roles in late July.
Eight managers, who have guided the careers of everyone from Nirvana to Robert Goulet, have been named as 2023 inductees to the Personal Managers Hall of Fame. Two of the managers, George Shapiro and Shirley Grant, are being honored posthumously.
The 2023 inductees will join 50 current Hall of Fame members, which include Sid Bernstein, Bernie Brillstein, Brian Epstein, Ken Kragen, Doc McGhee, Patricia McQueeney, Dolores Robinson, Jack Rollins and David Sonenberg.
“The Personal Managers Hall of Fame celebrates illustrious careers in entertainment, music, sports and talent management,” Clinton Ford Billups Jr., national president of the sponsoring National Conference of Personal Managers (NCOPM), said in a statement. “The 2023 inductees reflect the contributions, ethics and history of personal management that the Hall of Fame acknowledges and honors.”
Nominations are solicited nationwide from the personal management community. Inductees are selected by the national board of officers of the National Conference of Personal Managers, the nation’s oldest trade association committed to the advancement of personal managers and their clients.
The 2023 Personal Managers Hall of Fame red carpet reception and induction ceremony will be held Wednesday, Oct. 25 at the Golden Nugget Hotel and Casino in Las Vegas.
More information and tickets for the Personal Managers Hall of Fame is available at www.PersonalManagersHallofFame.org.
Here’s the full list of 2023 inductees to the Personal Managers Hall of Fame.
Phil Brock – CEO of Studio Talent Group, which for more than 25 years has represented actors for commercials, film, television and theatre, including Richard Moll, Mary Woronov and Emmy winner Pat Harrington Jr. (One Day at a Time). Brock was elected in 2020 as a member of the Santa Monica (Calif.) City Council.
Chris DiPetta – Veteran talent manager, television producer and owner of Atlanta comedy club The Punchline. For more than three decades, Chris DiPetta has managed the career of Billy Gardell, actor, comedian and star of the CBS sitcoms Mike and Molly and Bob Hearts Abishola.
Danny Goldberg – Has worked in the music business as a personal manager, record company president, publicist and journalist since the late 1960s. His current management clients include The Waterboys and Martha Wainwright and three-time Grammy winner Steve Earle.
Vera Goulet – For more than three decades, managed the career of her late husband Robert Goulet, who won a Grammy as best new artist of 1962 and a Tony for best actor in a musical in 1968 for The Happy Time. The singer/actor died in 2007.
Shirley Grant – During a career spanning more than four decades, guided the careers of Jonas Brothers, Keshia Knight Pulliam, Christina Ricci, Allison Smith and JD Roth, as well as Broadway stars Alex Boniello and Michael Lee Brown. Grant died in 2020. (Posthumous inductee)
Susan Joseph – A personal manager, concert promoter and branding consultant. Her clients have included songwriter Diane Warren, actress Nell Carter, singer Laura Branigan and actress Pia Zadora.
George Shapiro – A champion of comedy who guided the careers of Carl Reiner, Andy Kaufman, Peter Bonerz, Marty Feldman, Gabe Kaplan, Robert Wuhl, Bill Persky & Sam Denoff, Austin & Irma Kalish, and Norman Barasch. Shapiro died in 2022 at age 91. (Posthumous inductee)
David Spero – A music manager who has overseen the careers of Bad Company, Dickey Betts, Petula Clark, Billy Bob Thornton, Yusuf / Cat Stevens, Survivor, Don Felder, Patty Smyth, Joe Walsh and many others. Spero is also a 1970s rock-radio pioneer and a member of the Rock and Roll Hall of Fame board of directors.
South Korean companies SM Entertainment and Kakao Entertainment have launched what they are calling a “local integrated corporation” in North American as part of previously hinted-at efforts to accelerate their joint stateside operations and build upon the successes of their K-pop artists in the world’s largest music market. The companies said on Tuesday (Aug. 1) […]
A year in to Spotify’s partnership with FC Barcelona and the music streamer and leading European soccer club are now focused on evolving the sponsorship deal to create “cultural moments” through sports and music collaboration.
“One year ago, we said this would be more than a partnership because we like to say that Barça is more than a club and that’s important because it’s our motto but also important when it comes to partnerships,” says Sergi Ricart, chief marketing and revenue officer, FC Barcelona. “It’s been a pioneer strategic partnership. The engagement of new audiences with the club and the engagement that the content we created has seen, it’s been massive.”
The deal — touted as a new way for the streaming giant to amplify artists across the globe — spans four seasons for team shirts and three seasons for training shirts. It will also rebrand FC Barcelona’s Camp Nou stadium as Spotify Camp Nou, following an extensive redevelopment project that’s scheduled to be ready for the 2024-2025 season. The partnership kicked off with two major artist campaigns featuring Drake‘s OVO and Rosalía‘s Motomami logos, respectively, on the Blaugrana team jerseys. Rosalía’s logo was the first to be featured on both the men’s and women’s teams home kits as part of the partnership.
Following the unveiling of Rosalía’s match kit on March 15, searches for “Rosalía” and “Motomami” on Spotify increased by over 100% globally and by nearly 200% in Spain (compared to searches on March 14), according to the streaming company. Moreover, in the hour after the El Clásico match ended on March 19, global streams of Rosalía tracks climbed on Spotify in multiple markets globally, including Egypt where the tracks saw a more than 220% boost, 170% in Morocco and almost 70% in Nigeria.
“Rosalía’s El Clásico match kit drove streams and awareness because that match has two or three times more global eyeballs than the Super Bowl. These artists are getting fully integrated campaigns and it’s stuff that is enormous in marketing value,” explains Marc Hazan, vp partnerships, Spotify.
Now, with the partnership in its second year, artists such as Anitta and Fuerza Regida have visited the training facilities for the making of the Barça on Tour summer playlist . And, during the team’s stop in L.A. on July 26 for their match against Arsenal, Daddy Yankee toured the Spotify studio with Barcelona players in tow where he showed them a behind-the-scenes-look at his recording process. Additionally, the partnership will support artists on the LED boards during the Barcelona matches while on the U.S. tour.
“We’re creating a cultural moment and for the club it’s so important,” adds Ricart. “We humbly think that we’re the biggest global sports brand but how can we move into a cultural brand and with the support of this partnership we are moving that way.”
Following its more than 20 global activations during the 2022-2023 season, Hazan is looking to tap into different markets immersing in different genres. “This is a long partnership for Spotify, we’re very invested,” he says. “It’s fair to say that football and music are two great passions, so to combine the two is something pretty unique and when you have Barcelona, arguably one of the biggest clubs with a massive following, you’re in a position where they want to partner heavily and there’s a full set of music rights available, that doesn’t come up every day.”
A concertgoer has filed a police report after Cardi B was captured on video at a Las Vegas event throwing her microphone at a fan who splashed her with a drink. The Las Vegas Metropolitan Police Department confirmed to Billboard on Monday (July 31) that an individual filed a police report Sunday alleging battery, claiming […]
Shadoe Stevens, best known as host of American Top 40 from 1988 to 1995; Bob Rivers, an air personality and prolific producer and songwriter of parody songs; and Nina Totenberg, legal affairs correspondent for NPR, are among the eight 2023 inductees into the Radio Hall of Fame.
Other honorees include Gerry House, who was heard on WSIX-FM in Nashville for many years and also wrote hits for such top country stars as George Strait, Reba McEntire and LeAnn Rimes; John DeBella, who played a major role in developing the Morning Zoo format; and Pat St. John, who began his radio career in Windsor, Ontario in 1969, but is best known for the 42 years he spent in the New York City radio market.
Six inductees were determined by a voting participant panel comprised of more than 950 industry professionals. The two remaining inductees were voted on by the Radio Hall of Fame nominating committee.
“My congratulations to our newest inductees,” Kraig T. Kitchin, co-chair of the Radio Hall of Fame, said in a statement on Monday (July 31) when the Museum of Broadcast Communications announced the selections. “I’m thrilled to see each individual receive this recognition from the industry they’ve devoted their professional lives to.”
Dennis Green, co-chair of the Radio Hall of Fame, added: “On behalf of the Radio Hall of Fame nominating committee, we are proud to induct eight individuals into the Radio Hall of Fame who have made an indelible impact upon the industry. It is a pleasure to honor the careers of these individuals who quite simply define excellence in the industry and have earned the right to be called a Hall of Famer.”
The inductees will be honored at the in-person 2023 Radio Hall of Fame Induction ceremony on Thursday, Nov. 2, at the InterContinental New York Barclay Hotel in New York City. Christopher “Mad Dog” Russo, a 2022 Radio Hall of Fame inductee, will serve as master of ceremonies for the event. Tickets are on sale now at www.radiohalloffame.com. A portion of each ticket purchase is a tax-deductible charitable donation to the Museum of Broadcast Communications.
The Radio Hall of Fame was founded by the Emerson Radio Corporation in 1988. The Museum of Broadcast Communications took over operations in 1991.
Here’s a complete list of 2023 Radio Hall of Fame inductees:
John DeBella
Gerry House
Deborah Parenti
Bob Rivers
Pat St. John
Shadoe Stevens
Nina Totenberg
Charles Warfield
Just moments before rap superstar Travis Scott took the stage at the deadly 2021 Astroworld festival, a contract worker had been so worried about what might happen after seeing people getting crushed that he texted an event organizer saying, “Someone’s going to end up dead,” according to a police report released Friday.
The texts by security contract worker Reece Wheeler were some of many examples in the nearly 1,300-page report in which festival workers highlighted problems and warned of possible deadly consequences. The report includes transcripts of concertgoers’ 911 calls and summaries of police interviews, including one with Scott conducted just days after the event.
The crowd surge at the Nov. 5, 2021, outdoor festival in Houston killed 10 attendees who ranged in age from 9 to 27. The official cause of death was compression asphyxia, which an expert likened to being crushed by a car. About 50,000 people attended the festival.
“Pull tons over the rail unconscious. There’s panic in people eyes. This could get worse quickly,” Reece Wheeler texted Shawna Boardman, one of the private security directors, at 9 p.m. Wheeler then texted, “I know they’ll try to fight through it but I would want it on the record that I didn’t advise this to continue. Someone’s going to end up dead.”
Scott’s concert began at 9:02 p.m. In their review of video from the concert’s livestream, police investigators said that at 9:13 p.m., they heard the faint sound of someone saying, “Stop the show.” The same request could also be heard at 9:16 p.m. and 9:22 p.m.
In an Aug. 19, 2022, police interview, Boardman’s attorneys told investigators that Boardman “saw things were not as bad as Reece Wheeler stated” and decided not to pass along Wheeler’s concerns to anyone else.
A grand jury declined to indict anyone who was investigated over the event, including Scott, Boardman and four other people.
During a police interview conducted two days after the concert, Scott told investigators that although he did see one person near the stage getting medical attention, overall the crowd seemed to be enjoying the show and he did not see any signs of serious problems.
“We asked if he at any point heard the crowd telling him to stop the show. He stated that if he had heard something like that he would have done something,” police said in their summary of Scott’s interview.
Hip-hop artist Drake, who performed with Scott at the concert, told police that it was difficult to see from the stage what was going on in the crowd and that he didn’t hear concertgoers’ pleas to stop the show.
Drake found out about the tragedy later that night from his manager, while learning more on social media, police said in their summary.
Marty Wallgren, who worked for a security consulting firm hired by the festival, told police that when he went backstage and tried to tell representatives for Scott and Drake that the concert needed to end because people had been hurt and might have died, he was told “Drake still has three more songs,” according to an interview summary.
Daniel Johary, a college student who got trapped in the crush of concertgoers and later used his skills working as an EMT in Israel to help an injured woman, told investigators hundreds of people had chanted for Scott to stop the music and that the chants could be heard “from everywhere.”
“He stated staff members in the area gave thumbs-up and did not care,” according to the police report.
Richard Rickeada, a retired Houston police officer who was working for a private security company at the festival, told investigators that from 8 a.m. the day of the concert, things were “pretty much in chaos,” according to a police summary of his interview. His concerns and questions about whether the concert should be held were “met with a lot of shrugged shoulders,” he said.
About 23 minutes into the concert, cameraman Gregory Hoffman radioed into the show’s production trailer to warn that “people were dying.” Hoffman was operating a large crane that held a television camera before it was overrun with concertgoers who needed medical help, police said.
The production team radioed Hoffman to ask when they could get the crane back in operation.
Salvatore Livia, who was hired to direct the live show, told police that following Hoffman’s dire warning, people in the production trailer understood that something was not right, but “they were disconnected to the reality of (what) was happening out there,” according to a police summary of Livia’s interview.
Concertgoer Christopher Gates, then 22, told police that by the second or third song in Scott’s performance, he came across about five people on the ground who he believed were already dead.
Their bodies were “lifeless, pale, and their lips were blue/purple,” according to the police report. Random people in the crowd — not medics — provided CPR.
The police report was released about a month after the grand jury in Houston declined to indict Scott on any criminal charges in connection with the deadly concert. Police Chief Troy Finner had said the report was being made public so that people could “read the entire investigation” and come to their own conclusions about the case. During a news conference after the grand jury’s decision, Finner declined to say what the overall conclusion of his agency’s investigation was or whether police should have stopped the concert sooner.
The report’s release also came the same day that Scott released his new album, “Utopia.”
More than 500 lawsuits were filed over the deaths and injuries at the concert, including many against concert promoter Live Nation and Scott. Some have since been settled.
The Houston Police Department released its final report on the 2021 crowd crush tragedy at Travis Scott‘s Astroworld festival on Friday (July 28). The more than 1,200-page document details the Houston PD’s investigation into the tragedy, which left 10 people dead and hundreds more physically injured. The report arrives just a month after a Houston […]