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TOKYO — This summer, the Japanese entertainment company Avex launched the seven-member girl group XG on a weekly music TV show — in South Korea, instead of Japan. The move was strategic. Rather than promote the group, which was five years in the making, at home, Avex leveraged Korea’s K-pop-rich media market to make an international splash.
It’s a prime example of the newest chapter in K-pop’s globalization: non-Korean acts tapping into the training, promotion, styles and strategies that made the genre an international success.
Korean networks’ many music programs showcase dozens of bands and live performances, which are readily available on YouTube — a key factor in K-pop’s international expansion, according to industry experts. In stark contrast, Japanese TV networks have been slow to embrace YouTube because sharing original content there often leads to unauthorized reuse. “Japanese TV shows are really inside — we can’t really reach to the global fans,” says Reina Aiguchi, a manager in Avex’s digital marketing group who works with XG. “In order to gain the global fans, we had to go on Korean TV shows.”
XG — like JO1 from Japan and boy band SB19 from the Philippines — followed the K-pop star incubation model, drawing their members from thousands of auditioning hopefuls and undergoing yearslong training regimens. Thanks to instruction from K-pop vocal coaches and choreographers, they appear to be gaining traction, accumulating millions of audio streams and YouTube views. What remains unclear, though, is whether they will lure non-Korean listeners away from Korean bands or grow the genre’s fan base by having lesser-known artists attract more listeners.
Either way, experts say the development could help boost K-pop’s long-term viability worldwide. Non-Korean K-pop bands may displease some existing fans, but this expansion evolves the genre beyond Korean pop. “If globalizing Korean acts was the model in the past, now the mindset is to create global-level groups around the world,” says Kim Young-dae, a Seoul-based music critic. “It didn’t happen overnight. This has been the goal that [the industry] has been working on for the last two decades.”
K-pop acts with members from outside Korea aren’t a new phenomenon. Starting in the 1990s, agencies recruited from the Korean diaspora and later expanded the talent pool to such key target markets as Japan and China. From Super Junior to TWICE to Aespa, bands have benefited from members who communicate with fans and media in relevant markets in their own languages.
But this latest wave of K-pop groups has no Korean members. Instead, they are working within Korea to take advantage of the know-how, distribution channels and global attention K-pop has established. They were often exposed to K-pop from childhood and see Korea as a platform for international stardom.
XG
Courtesy of XGALX
XG, for example, is produced by an agency led by Simon Jakops, a former K-pop idol who was born in the United States to Korean and Japanese parents. Avex selected XG’s members from a pool of 15,000 Japanese girls in 2017 and put them through five years of training — starting when they were ages 10 to 15 — to master hip-hop and R&B music, as well as English and Korean. They lived together in a dormitory in Tokyo and moved to Seoul during the pandemic. Singing and rapping in English — with the occasional Japanese word thrown in — the group made 14 appearances on six different Korean TV shows in June and July to promote its first two singles, “Tippy Toes” and “Mascara,” Aiguchi says. The group is marketed by XGALX, an agency overseen in Tokyo by Avex, which, in recent years, has struggled to repeat its J-pop idol successes from the 1990s and 2000s.
“We wanted to refer to K-pop and have those methods for XG,” says Yudai Hasegawa, manager for XGALX, speaking through Aiguchi’s translation. “Second is, we wanted to shoot those music videos in Korea, where they have good music video directors.” Such strategies appear to be making a difference: XG has about 700,000 subscribers on YouTube and around 600,000 on TikTok, while “Mascara” reached No. 14 on the Billboard Japan Hot 100, spending 11 weeks on the chart. In addition, the group won the Rising Star award at the MTV Video Music Awards Japan in November. Comments below the group’s videoclips contain English, Bahasa (Indonesia) and Spanish, alongside Japanese.
JO1, a Japanese boy band formed from the 11 winners of the 2019 reality TV contest Produce 101 Japan, also received training in South Korea. Their music, often a collaboration between Japanese and Korean producers, is sung in Japanese with English words peppered into the mix, a K-pop formula for upping the songs’ global appeal. The members have appeared on Korean variety shows and K-pop-focused YouTube channels. (Their latest single, “SuperCali,” borrows the famous compound word from Mary Poppins.) JO1 has racked up several No. 1s on the Billboard Japan Hot 100, including “Bokura no Kisetsu” (“Our Season”), which topped the chart last December and has nearly 420 million combined views on YouTube.
Korean agencies in recent years have also launched non-Korean bands that perform K-pop-like music — notably SM Entertainment’s China-geared boy band WayV, as well as NiziU, an all-Japanese girl group from JYP Entertainment and Sony Music Entertainment Japan.
After an open call for auditions beginning in 2014 involving hundreds of Filipino boys, SB19 was formed by ShowBT Philippines, a subsidiary of Korean agency ShowBT Group. The five-member boy band, which sings in English and Tagalog, trained in South Korea for three years before signing with Sony Music Philippines in December of 2019. They recently have begun cracking the Billboard charts and touring overseas, including a show at Los Angeles’ Avalon nightclub this past Saturday (Nov. 12). “They’ve really raised the bar, the Koreans,” Roslyn Pineda, general manager, Sony Music Entertainment Philippines, said in September. “Number one is the discipline” SB19 members learned in Korea, which led to a “sharpness of [dance] movements…that doesn’t lie,” she says.
“We can’t deny the K-pop influence [on JO1],” says Choi Shin-hwa, CEO of Lapone Entertainment, a joint venture between entertainment conglomerates CJ ENM of South Korea and Yoshimoto Kogyo of Japan that produces JO1. He doesn’t describe Lapone artists as K-pop, but rather envisions “a new genre that is a hybrid of K-pop and Japanese culture.”
In an interview in Tokyo, some members of JO1 told Billboard they grew up listening to K-pop CDs from boy band TVXQ and pop rock band CNBLUE, which their respective mothers, as fans, had played around the house. The members nervously denied they were already stars. “We keep on working with the hopes of catching up with all the awesome K-pop artists who are active today,” says member Issei Mamehara.
Additional reporting by Alexei Barrionuevo
How did Taylor Swift‘s 2023 Eras tour presale turn so calamitous? Ticketmaster service delays and website crashes outraged fans trying to buy tickets to the superstar’s 2023 tour this week, causing widespread outcry and condemnation for the ticket service as high up as Congress. And, finally, on Thursday (Nov. 17), company officials announced they had decided to cancel the general ticket sale scheduled for Friday — blaming a surge of unregistered fans and billions of bots for the failure.
Fans already bought up more than 90% of the ticketing inventory on Tuesday and Wednesday, according to Ticketmaster, breaking the record Tuesday for the most tickets ever sold in a single day by a touring artist at 2 million. But with that success came catastrophe. More than 3.5 million fans registered for the chance to buy Swift tickets, and 1.5 million were invited to participate in Tuesday’s ticket sale for a crack at seats on the 52-date tour. Company officials say, however, it wasn’t pre-registered fans buying tickets who caused the crash on Tuesday, but that tens of millions of uninvited fans and billions of bots trying to access the sale early were to blame.
A Wednesday presale for Capital One card holders again brought a second unreported massive traffic of traffic to the site, as millions of fans — most without presale codes or an invitation — again tried to flood the presale meant only for a few hundred thousand card holders.
With little inventory left and even bigger crowds expected Friday, on Thursday Ticketmaster and Swift’s team decided to cancel the final onsale. It’s unclear how the remaining ticketing inventory will be distributed or sold. Meanwhile, the bad press has brought unwanted attention to the ticket giant.
Earlier Thursday, in an open letter to Live Nation CEO Michael Rapino, Sen. Amy Klobuchar, chair of the Senate Judiciary Subcommittee on Competition Policy, Antitrust, and Consumer Rights, argued that “Ticketmaster’s power in the primary ticket market insulates it from the competitive pressures that typically push companies to innovate and improve their services,” resulting in “dramatic service failures,” like the crash of Tuesday’s Taylor Swift sale.
Hours after the letter surfaced, Ticketmaster published a blog on its website offering an in-depth explanation of what caused the Swift presale to crash. Ticketmaster’s explanation for the crash — that it misjudged demand for presale tickets and was ill-prepared for the millions of fans that tried to log in — is not likely to satisfy Klobuchar and the bi-partisan criticism that the company is cutting corners due to it’s massive marketshare in the concert space.
According to Ticketmaster, about 3.5 million fans pre-registered for Taylor’s Verified Fan program — “the largest registration in history,” the company’s blog claims. The huge amount of demand “informed the artist team’s decision to add additional dates” to Taylor Swift’s Eras tour earlier this month, increasing the number of shows on sale from 26 to 52 stadium shows — 47 of which would be ticketed by Ticketmaster.
Despite doubling the number of shows that it was now selling tickets for, Ticketmaster didn’t increase the window of time it would need to process the large uptick in volume. That meant that instead of having 11 East Coast shows go on sale at the same time (10 a.m. EST), Ticketmaster was now putting 21 shows on sales at once.
Making matters worse, far more people showed up to buy tickets than was expected. On Monday night, the day before the presale, Ticketmaster sent out invitations to 1.5 million fans who had signed up for the presale with instruction on how to purchase tickets. “Historically, around 40% of invited fans actually show up and buy tickets,” according to Ticketmaster’s blog post, meaning Ticketmaster was only expecting about 600,000 people to actually try to log in. Not only did far more invitees show up, millions more uninvited guests tried to crash the party. Ticketmaster estimates that with uninvited guests and massive armies of bots, about 3.5 billion requests were made requesting access to the presale, causing the system to meltdown.
Company officials ended up having to do what they probably should have done in the first place — pushing back the remaining sales to give the Ticketmaster team more time to deal with the traffic issues and high demand. About 15% of fans attempting to buy Swift tickets experienced some type of disruption while trying to buy tickets or were unable to do so because of the site crash, according to the Ticketmaster blog. Still, the company did sell more than 2 million tickets that day — the most ever sold for a single artist in a day — and Ticketmaster has agreed to not allow Swift tickets to be sold on any of the secondary resale sites it controls, restricting markups to fans on its service.
A Georgia judge on Thursday (Nov. 17) refused to delay the closely-watched criminal case against Young Thug, Gunna and others accused of participating in an Atlanta gang, rejecting calls from prosecutors to move the start of the trial from January to March.
Prosecutors sought the delay — from Jan. 9 to Mar. 27 — on the grounds that some of the 28 defendants in the case still lacked court-appointed attorneys. But with Young Thug, Gunna and many others stuck in jail until trial, defense lawyers opposed efforts to push back the proceedings.
At a hearing on Thursday, Fulton County Judge Ural Glanville denied the government’s motion to delay the trial, court documents show, and set jury selection to begin on Jan. 5.
Both Young Thug (Jeffery Williams) and Gunna (real name Sergio Kitchens) were indicted in May, along with dozens of others, on accusations that their group YSL was not really a record label called “Young Stoner Life,” but a violent Atlanta street gang called “Young Slime Life.” The charges include allegations of murder, carjacking, armed robbery, drug dealing and illegal firearm possession over the past decade.
The two stars, who strongly deny the charges, have both repeatedly sought to be released on bond ahead of their trials. But both have been refused on multiple occasions, largely because prosecutors have warned that they might threaten witnesses or otherwise obstruct the case. More than 20 other defendants have also been refused bond, meaning they’re also stuck in jail until trial.
The case is built around Georgia’s Racketeer Influenced and Corrupt Organizations Act, a state law based on the more famous federal RICO statute that’s been used to target the mafia, drug cartels and other forms of organized crime. Such laws make it easier for prosecutors to sweep up many members of an alleged criminal conspiracy (in this case, 28 total) based on many smaller acts that aren’t directly related.
But indicting that many people in a single case has apparently led to a shortage of court-appointed defense attorneys. In an Oct. 6 court filing, prosecutors asked to push the trial back by nearly three months, arguing that eight defendants still lacked lawyers and that any attorney retained after that point could not “properly prepare” for a January trial.
But that request did not sit well with Young Thug’s lawyers, who said it was prosecutors’ own fault for not preparing more public defense counsel before handing down such sweeping indictments – and “disingenuous” to now argue that a delay was needed.
“It is unjust that Mr. Williams rots in the county jail and … is being required to wait on the appointment of counsel for co-indictees,” the rapper’s lawyer, Brian Steel, wrote in an Oct. 10 filing that also renewed the rapper’s request to be released ahead of trial. “It has been too long to leave a human being in custody without trial, without discovery, without the statutory right to a speedy trial and without bond.”
Beyond indicting two of rap’s biggest stars and leaving them in prison to await trial, the YSL case has also made waves because it cited their lyrics as supposed evidence of their crimes — a controversial practice that critics say unfairly sways juries and injects racial bias into the courtroom. California recently banned the tactic in that state, but Fulton County District Attorney Fani Willis has strongly defended using it against Young Thug and Gunna.
R. Kelly’s former manager was sentenced Thursday to 20 months in prison after pleading guilty to charges that he stalked one of Kelly’s sexual abuse victims in an effort to keep her silent.
Donnell Russell pleaded guilty in July to using threats, harassment and intimidation to silence one of the women abused by Kelly, who was convicted last year on sex trafficking and racketeering charges and sentenced to 30 years in prison in June.
Ahead of his sentencing, Russell’s lawyers argued he should receive only probation, arguing he’d led an “otherwise exemplary life” before “crossing the line in his attempts to curry favor with Robert Kelly.”
But prosecutors strongly disagreed, citing dozens of prior arrests and calling his conduct “abhorrent.” They asked for 24 to 30 months, saying it was needed to deter such behavior: “If victims are concerned that this type of conduct will not be adequately punished, it could chill victims from pursuing legal remedies and from cooperating with law enforcement investigations.”
Following Thursday’s sentencing, Russell’s attorney did not immediately return a request for comment from Billboard.
Prosecutors say Russell, a self-described manager, advisor and friend to Kelly, used “reprehensible” tactics against the unnamed victim after she filed a civil lawsuit against the singer in 2018. They included sending threatening messages to the woman and her mother, and then publishing explicit photos of her on the internet.
“Just a sample. We will seek criminal charges. You’ve been warned,” Russell wrote in a December 2018 message to the victim and her mother, referring to the nude images.
Separate from the stalking charges, Russell was also convicted in July of making a phone threat that gunfire was about to occur at a crowded Manhattan theater that was preparing for a premiere of Lifetime’s Surviving R. Kelly series. The phone threat prompted a call to police and an evacuation that forced the premier to be canceled.
Russell awaits sentencing next week on those charges.
LONDON — More people around the globe are listening to licensed music services than ever before, but piracy continues to have a harmful impact on creators’ careers, according to a new report from international trade body IFPI measuring global consumption and listening habits.
IFPI’s “Engaging with Music 2022” study reveals that music consumers are spending on average 20.1 hours listening to music weekly, a 9% increase from 18.4 hours in 2021.
The London-based organization found that 46% of the 44,000-plus music fans it surveyed for the report listen to their favorite artists through a premium subscription streaming service such as Spotify, Apple Music or Amazon Music, either using their personal subscription or via a shared account. That number rises to 74% when ad-supported music streaming is factored in alongside paid subscriptions.
Those streaming service numbers are slightly down from IFPI’s 2021 figures — when about 47% of respondents used a paid subscription service and 78% of people said they used either ad-supported or paid streaming – but IFPI says any decreases are the result of a change in accounting methodology, rather than a drop in real terms.
In this year’s report, the adoption of subscription streaming services is highest among younger listeners, with 54% of 16–24-year-olds and 56% of 25-34-year-olds surveyed saying they use subscription music platforms. Usage drops to 26% in the 55-64-year-old age bracket.
The top five countries where people spent the most time listening to music through a subscription streaming service were Sweden (56% of people surveyed), the United Kingdom (52%), the U.S. (51%), Germany (51%) and Mexico (50%). (Overall, IFPI reports a 10% rise in time spent listening to music on paid streaming services compared to the prior year.)
The IFPI report was compiled by surveying internet users aged 16-64 between June and September across 22 countries, including the United States, Japan, United Kingdom, Germany, France, Australia, Brazil, Canada and Mexico. Collectively, these markets accounted for more than 89% of global recorded music revenues in 2021, according to this year’s IFPI Global Music Report.
Writing in the study’s foreword, IFPI chief executive Frances Moore says the report’s findings show “how music engagement is thriving, driven by new genres [and] new formats,” as well as the global value of music, “and the need to protect and support it.”
Video-Based Music Consumption Dominates
Of those surveyed in the “Engaging with Music 2022” report, more than three-quarters say they consume music in multiple formats. On average, people use more than six different methods to engage with music, the most popular being video streaming, says IFPI.
Of the people surveyed, 82% said they regularly consume music through video streaming services like YouTube. Audio streaming was the second most popular listening format, followed by radio listening, and then short-form video formats such as TikTok. Meanwhile, 32% of respondents said they had watched a music concert livestream in the last month with more than half (58%) having recently watched a music-focused TV show or film.
Driven by the huge global popularity of TikTok, which says it has over one billion monthly active users, half of those surveyed said they use short-form video apps with 63% of respondents saying music is a key factor in choosing what content they consume on the platforms. South Africa and Mexico were the countries with the highest percentage of short-form video app users (both 78%), followed by Brazil (71%) and Argentina (66%), reports IFPI.
Pop was named as the most popular music genre globally, followed by rock, hip-hop/rap, dance/electronic, and Latin. When it comes to physical music, 12% of the people surveyed had bought a CD within a month of submitting their responses and 8% had purchased a vinyl record.
Survey data from China and India is not included in the main report’s global figures because IFPI says the size of the countries would have a “considerable impact on the weighted average figures used.” The listening study contains separate reports looking at music consumption in China, India, Indonesia and Nigeria. Results from Indonesia and Nigeria were also not included in the global round up as they were included in the survey for the first time this year.
In China, 96% of people surveyed use licensed music streaming services with 94% using short form video platforms. In India, 88% of respondents use music streaming services with 65% consuming short-form video.
Despite the growth in global music listening, the availability of unlicensed repertoire continues to pose a serious threat to the future health of the record industry, says IFPI. It found that almost one in three respondents (30%) admitted to using unauthorized or unlicensed methods to listen to or download music.
Stream-ripping sites remain the most popular way for consumers to access copyright-infringing music, IFPI found, with 40% of 16-24-year-olds confessing to using them. Almost one in five people (17%) said they had used an unlicensed mobile app to illegally download music.
Responding to its findings, Moore said IFPI will continue to fight against all forms of music piracy “to ensure that those seeking to profit from unlicensed and unauthorized music cannot threaten the vibrancy of a music ecosystem that is essential to artists and fans.”
Singer-songwriter Megan Moroney has inked a label deal with Sony Music Nashville and Columbia Records. During her opening performance slot for Warren Zeiders: The Up to No Good Tour on Wednesday evening (Nov. 16) at Nashville’s Brooklyn Bowl, Moroney announced her label signing, and also told the audience that her song “Tennessee Orange” will be sent to country radio.
According to Moroney’s manager, Punch Bowl Entertainment’s Juli Griffith, Moroney and her team were in talks with 18 record labels before signing with Sony Music Nashville and the NYC-based Columbia.
“We picked this combination because they understand exactly who Megan is and what she has already created,” Griffith tells Billboard. “Their plan is to come in and enhance what we are already doing under her creative vision.”
Moroney’s “Tennessee Orange” made its Billboard Hot 100 debut in October, entering the chart at No. 94. The song is currently at No. 19 on Billboard’s Hot Country Songs chart. Moroney wrote “Tennessee Orange” with Ben Williams, David Fanning and Paul Jenkins, with production from Kristian Bush. Moroney released her six-song EP Pistol Made of Roses in July.
A portion of the early appeal of “Tennessee Orange” lies in its backstory, with many fans believing Moroney wrote it about country singer-songwriter Morgan Wallen. In the song, Savannah, Georgia, native Moroney sings of being a University of Georgia fan (Moroney’s alma mater), but she is so besotted with a love interest that she is even willing to wear the University of Tennessee’s trademark orange color (Wallen is a UT fan).
In addition to her new label deal, Moroney’s team includes Griffith’s Punch Bowl Entertainment for management, as well as UTA booking agent Elisa Vazzana, and tour manager Alexandra Kolea.
“We are so happy to have built what we did with a small group of four amazing women (Team Lasso as we call ourselves). The time has come that we need to expand, and we are thankful to have been able to hand pick an amazing team to help us go forward in this journey,” Griffith adds.
Imagine a platform where fans can buy and sell streaming rights from the music they love, as easily as buying a stock on an investing site like Robinhood. This is the vision of Web3 music platform Royal, which today announces a music rights marketplace.
Founded by DJ and producer Justin Blau, Royal launched in January 2022 with high-profile NFT drops from Nas, Diplo and The Chainsmokers. The platform allows fans and investors to earn a percentage of streaming royalties alongside the artists. Thus far, the platform says it has paid out $100,000 to holders.
After proving the concept works, Blau says Royal is growing into its bigger vision. “The drops were very much a beta,” he tells Billboard. “We needed to show that you could actually pay out royalties in an efficient manner on chain … The next piece is the tradability of these assets.”
Royal’s marketplace allows fans to buy and sell music rights directly on the website. It includes a ‘portfolio’ where fans can manage their collection, track the performance of their assets and connect to a bank account. Since the beginning, Royal has worked to hide the crypto technology that underpins the platform, and that same Web2.5 philosophy applies to the new marketplace.
“You can buy and sell these things and never see crypto if you don’t want to,” Blau says.
Royal sees music as a rapidly growing asset class with global music revenues hitting $26 billion in 2021, according to IFPI. And while streaming accounts for 65% of recorded music revenue — also via IFPI — most of the value is locked up in legacy music companies and investment firms. “The private markets have controlled all the value in music rights,” says Blau. “It’s not moving between artists and fans, it’s moving between institutions.”
The concept of Royal’s marketplace is to unlock some of that value and let fans participate.
“If you’re a fan and you own a piece of a song and it comes on the radio, there’s something really special about saying you own that.”
Hanging over this announcement, however, is a lawsuit served to Blau over an $11 million NFT auction connected to his Ultraviolet album in 2021. Songwriter Luna Aura — who says she owns a 50% royalty share in one of the tracks on the album — claims she was not adequately compensated from the NFT sale.
Blau could not offer further comment on the details of the lawsuit, but did say the experience of releasing the Ultraviolet NFT and navigating IP laws with 21 other artists informed how they built Royal.
In the coming weeks, the platform will also host more than a dozen new drops from independent artists, starting today with Bingo Players & Zookëper and their new single “Bathroom Line,” followed by “I’ll Wait” by Madison Ryann Ward, as well as music from Yemi Alade, 27Delly and Matt Cooper.
As job applications go, Tim Hinshaw’s wasn’t quite traditional.
While angling for a position in the hip-hop & R&B division of Amazon Music in 2018, Hinshaw recruited a few old friends to record themselves hyping him up. “Oh, hey. This is Donald Glover/Childish Gambino saying you should probably hire Tim,” the multihyphenate star says, winking at the camera. Cut to Anderson .Paak: “I’m telling you, he’s the one. You need him on your squad.” “Tim is a good dude, and he knows what he’s doing!” Scarface adds before noting that he himself is an Amazon Prime member. The video closes with the late Mac Miller playing a white grand piano, then turning to the camera to implore: “Hire Tim. I know I would.”
Hinshaw edited the clips together, then passed the supercut to Amazon — an effort, he says, “to show the breadth of my relationships, from the current generation to the legends.” The promo worked: Within a few weeks, Hinshaw was hired as Amazon Music’s senior manager of hip-hop artist relations and within a year, he was promoted to head of hip-hop & R&B. But it was also an apt advertisement for the talents that would help Hinshaw succeed long term at the company. The close relationships and credibility he has within the artist community — developed over the course of 13 years working in management and artist relations roles — along with a penchant for innovation and a personality that Amazon Music vp Steve Boom calls “super smart, genuine and incredibly humble” have all allowed Hinshaw and the team he has built to elevate Amazon Music’s hip-hop & R&B division into a global leader in the genre.
“Tim has put Amazon Music into the conversation in the hip-hop and R&B community in a massive way,” says Boom, “and in a way, frankly speaking, we were not.”
“When I thought about the landscape, it was like, ‘Amazon is already in everybody’s homes,’ ” says Hinshaw of his initial strategy. “I knew if I could authentically bridge the gap between company and artist and tell that story to consumers in an authentic way, I could help Amazon be a major player in this entertainment space.”
Thanks to his efforts, in the past year hip-hop and R&B have become the leading genres for Amazon Music livestreams, with the platform’s three most-viewed livestream events featuring Kanye “Ye” West, Drake and Tyler, The Creator. “Tim’s trajectory is so amazing to watch,” says Tyler. “I love him so much.”
Tim Hinshaw photographed on October 27, 2022 at Harun Coffee in Los Angeles.
Kathryn Boyd Brolin
Last December, Drake and Ye’s #FreeLarryHoover benefit concert at the L.A. Memorial Coliseum streamed in 240 countries on Amazon Music’s Twitch channel and the Amazon Music app. Just weeks later, Amazon Music partnered with The Weeknd for a livestream event promoting his new album, Dawn FM, and the platform livestreamed J. Cole’s Dreamville festival in April.
Hinshaw has also been instrumental in securing talent for the just-launched Amazon Music Live. Airing after Thursday Night Football, the weekly livestream program, which launched Oct. 27, is hosted by 2 Chainz and has already featured performances from Lil Baby, Megan Thee Stallion and Kane Brown. In late October, Hinshaw and his 12-person team — “a bunch of young, hungry Black and brown executives,” as he describes them — touched down in Paris to produce a livestream of the second of Kendrick Lamar’s two shows in the city on his current The Big Steppers Tour. That 65-date run is sponsored by Amazon Music’s flagship hip-hop and R&B Rotation playlists — an idea Hinshaw originated and oversaw. (Hinshaw also led the 2019 development and launch of Rotation itself, which encompasses the R&B Rotation and Rap Rotation brands.)
“For me to be on a business-class flight to Paris with arguably the world’s biggest hip-hop artist,” says Hinshaw, “it was like, ‘Wow, we’ve come a long way from Compton.’ ”
Tim Hinshaw (right) with Kendrick Lamar in October 2022 in Paris.
Greg Noire
Like Lamar, Hinshaw, 32, was raised in the South Los Angeles neighborhood where so many of hip-hop’s legends started out. With his father serving a 20-year prison sentence for nonviolent drug-trafficking charges while he was young, Hinshaw was raised by his mother. Once he was a teenager, she enrolled him 30 miles away at the tony Palisades High School, driving her son 60 miles round trip so he could experience life outside the three blocks in which he had grown up.
After graduation, Hinshaw nearly joined the U.S. Coast Guard, but was talked out of it by his brother, the singer-songwriter Prince Charlez, who encouraged him to pursue music instead. Hinshaw co-managed his brother to a joint-venture label deal with Island Def Jam before landing management jobs in the artist relations and music marketing divisions at Fender and Vans, respectively, and through them forging the relationships that have proved invaluable in his current role.
“I can’t tell you the number of meetings I’ve been to with Tim and an artist or manager where the level of respect and love they have for him is transparent,” says Boom. “It leads to very different, more productive and more collaborative meetings that benefit the artist and Amazon Music.”
In genres where authenticity is paramount, the trust Hinshaw has developed in the hip-hop and R&B community has also helped bridge the gap between a massive corporation and the artists it hopes to work with. Most crucial are honest conversations about “getting what we want out of said deal without making the artist feel like they’re a walking commercial,” says Hinshaw. “You’re not going to put a logo on Kendrick Lamar’s forehead.”
Tim Hinshaw photographed on October 27, 2022 at Harun Coffee in Los Angeles.
Kathryn Boyd Brolin
That straightforward approach has led to collaborations with A-list figures like H.E.R. and Kid Cudi; Summer Walker; Chance the Rapper; Tyler, The Creator; DJ Khaled; LeBron James and Mav Carter, co-founder/CEO of James’ entertainment company, SpringHill. But Hinshaw’s team’s cred also extends to emerging acts, which it supports with Rap Rotation. Since its 2019 launch, streams on the playlist have doubled — just one indication of overall demand for the genre exploding on Amazon Music since Hinshaw’s arrival. Global customers asked Alexa to play hip-hop and R&B tracks over a billion times in 2021 alone.
The ripple effect of Hinshaw’s work extends across Amazon Music. Boom calls his artist merchandise collaborations “instrumental” in the growth of fashion initiatives like The Showroom, a collection from Amazon Music and Hypebeast creative agency Hypemaker that paired rising artists like Flo Milli, Lucky Daye and Fousheé with rising streetwear designers. Philanthropy initiatives Hinshaw and his team have carried out — like sponsoring 21 Savage’s 2021 and 2022 back-to-school drives in Atlanta — build different kinds of bridges, Hinshaw says, “open[ing] doors for kids in communities like the one I grew up in.” And his team’s work with Prime Video through livestreams has, Boom adds, “allowed us to expand our ambitions as a company.”
Those successes are the product of 11-hour workdays that begin after Hinshaw and his wife drop off their two kids (Sadie, 5, and Tim Jr., 4) at school. If he’s not in back-to-back meetings, he’s cold-calling managers to follow leads about forthcoming projects he wants to get involved with — efforts Hinshaw says are still crucial in determining next steps for his already accomplished team.
As Hinshaw’s sphere of influence keeps expanding, however, its core remains the same as when he wrangled his superstar pals to help him land the job. He’s still in close and constant contact with artists and their teams (his email alert dings roughly 30 times during our interview), knowing that, as details can get lost in translation, the ability to get an artist or manager on the phone is essential to keep things in motion. And as always, he knows those relationships aren’t just about business: Hanging with artist friends for birthday parties and casual dinners, or just sending a text to check in, could be the key to making the next big project happen.
“Continuing our artist-first vision,” he says, “is always going to put us in the place we need to be.”
This story will appear in the Nov. 19, 2022, issue of Billboard.
Already looking ahead to 2023, Paramount Global is announcing a cross-brand partnership involving its broadcast, cable, streaming and digital brands to commemorate the 50th anniversary of hip-hop. The company’s expansive, year-long slate of programming initiatives also includes an alliance with The Recording Academy.
Today’s announcement (Nov. 17) is an expansion of Hip Hop 50, a three-year initiative that Paramount cable network Showtime launched in late 2021 in association with Mass Appeal, the music label, film and TV company co-founded by rapper/entrepreneur Nas. Focusing on the stories, personalities and legends behind the genre, the partnership has thus far presented several programs on Showtime such as Supreme Team, Cypress Hill: Insane in the Brain, You’re Watching Video Music Box and Ricky Powell: The Individualist, about the well-known New York street photographer.
Moving forward, Showtime will present more programming under the Hip Hop 50 banner from Mass Appeal and other production companies. Those offerings will include a documentary about legendary rapper Biz Markie, a series showcasing the power of women in the genre and another series exploring the SoundCloud scene.
On CBS, Paramount’s cross-company hip-hop celebration will include a special performance at the 65th annual Grammy Awards on Feb. 5, 2023. Later in the year, the TV network will also present a special music event in honor of the genre’s golden anniversary in partnership with The Recording Academy.
Paramount’s year-long celebration of hip-hop’s cultural impact will feature additional new and returning content across its other brands, including:
BET, which will produce a documentary about its iconic series, Rap City, and further honor the anniversary through its longstanding BET Awards and Hip Hop Awards telecasts. BET.com and BET social will also spotlight the culture and profile its legends throughout 2023.
MTV Entertainment Studios, which is set to produce new episodes of Behind the Music and various hip-hop documentaries to be announced at a later date. Fans will also get a chance to celebrate the anniversary via in-show moments during the VMAs and EMAs.
Paramount+, which will continue to stream 50 iconic episodes from MTV Entertainment’s original series Yo! MTV Raps for the first time since it premiered. In addition, the rebooted series is now also available to stream alongside the home makeover series Hip Hop My House.
John Malone’s Liberty Media Corp. said Thursday that its board of directors has authorized management to pursue a split-off of the Atlanta Braves and its associated real estate development project and the creation of a new Liberty Live Group tracking stock, which will house the company’s 31 percent stake in Live Nation Entertainment, among other things.
Tracking stocks are designed to let investors track specific businesses that are part of a larger company. Liberty has used such tracking stocks in the past in the hopes of highlighting the performance and value of parts of its wide-ranging portfolio of assets.
“We plan to split off the Atlanta Braves into an asset-backed stock to better highlight its strong value. Additionally, post-split-off, we plan to recapitalize all of Liberty Media’s remaining common stock into three tracking stock groups,” said Greg Maffei, Liberty Media president and CEO. “These actions will provide greater investor choice and enable targeted investment and capital-raising through more focused currencies, while maintaining an optimal capital structure for Liberty Media and preserving optionality with respect to our subsidiary SiriusXM and our Live Nation stake.”
The split-off will be accomplished “through the redemption of Liberty Media’s existing Liberty Braves common stock in exchange for common stock of a newly formed company to be called Atlanta Braves Holdings Inc.,” the firm said. “Atlanta Braves Holdings would hold all of the businesses, assets and liabilities currently attributed to the Braves Group, including Braves Holdings LLC, which is the direct or indirect owner and operator of the Atlanta Braves Major League Baseball Club, certain assets and liabilities associated with the Atlanta Braves’ stadium and mixed-use development project, The Battery Atlanta, and corporate cash.” In connection with the Split-Off, Liberty Media would redeem each outstanding share of its Series A, Series B and Series C Liberty Braves common stock for one share of the corresponding series of common stock of Atlanta Braves Holdings. As a result of the Split-Off, Liberty Media and Atlanta Braves Holdings would be separate publicly traded companies. It is expected that the intergroup interests in the Braves Group held by Liberty Media’s existing Liberty SiriusXM Group and Formula One Group would be settled and extinguished in connection with the Split-Off in a manner to be determined.”
Following the completion of the split-off, Liberty Media wants to create a new tracking stock group, the Liberty Live Group. It would then have three tracking stocks: the Liberty SiriusXM Group, Formula One Group and the Liberty Live Group. The company said the third one would include “its interest in Live Nation Entertainment Inc., corporate cash, certain public and private assets currently attributed to the Formula One Group, Liberty Media’s 0.50 percent Live Nation exchangeable senior debentures due 2050, margin loan obligations incurred by its wholly owned special purpose subsidiary, which are secured by shares of common stock of Live Nation Entertainment Inc., together with other assets as may be determined from time to time by Liberty Media.”
Liberty Media said it expects to complete the split-off and the tracking stock reclassification in the first half of 2023.
This article was originally published by The Hollywood Reporter.