def jam
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Def Jam Recordings announced on Friday (March 3) a joint venture with Philadelphia-based entertainment company Stack or Starve Records. The full service label will help develop the careers of their growing roster and newest signees D Sturdy, the Philly Goats and Saadi Four.
“Def Jam is one of the greats, I want Stack or Starve to be recognized in the same vein one day. With this partnership, I want to help our artists build wealth, understand financial literacy and most importantly, I want them to be able to help others and pay it forward,” said Curtis “Boonah” Brinkley, CEO of Stack or Starve. “We aim to do this by connecting them with financial advisors and wealth coaches, building real estate portfolios and helping them diversify their assets. The strategic moves that will be put in place for our artists and team will put them in a position that began with music but elevated them in all realms of life. Personally, I want them to be able to take care of their kids and families.”
The primary focus of the venture will be empowering, teaching and expanding Stack or Starve’s roster by leveraging Def Jam’s robust resources including A&R, marketing, PR, distribution, creative, touring, management, promo and more.
Stack or Starve Records was founded by Philly natives Brinkley and Shana Sherman, Def Jam’s director of A&R. Sherman has a history of working with major labels such as RCA and BMG alongside executives like L.A. Reid and Tunji Balogun. She has also aided in breaking and developing viral artists such as Armani White and Raveena and has worked with Maxwell, K. Michelle, India.Arie, Ledisi, and more.
The company was founded with the belief of improving the lives of young people in Philadelphia and its surrounding neighborhoods. With that goal in mind, the label strives to become a global name as it seeks to grow and empower artists around the world.
“We want to change the culture of music from this era of trending and virality to a movement that’s being spurred right out of Philly,” said Sherman. “The kids on our roster have created sounds and cultural moments that cannot be duplicated; we’re working with kids who have started their own waves, built their own organic followings, and we’re helping them achieve their goals and accomplish their vision, seeing this come to life puts the fun back into my job and the joy back in music.”
Coinciding with today’s news is the announcement of D Sturdy and the Philly Goats signing with Def Jam via the Stack or Starve partnership, joining label mate Saadi Four. In 2018, D Sturdy and the Philly Goats got their start as a Philadelphia dance and music collective comprised of D Sturdy, Sou and Spence.
“We, as a team, always speak of ownership, so the joint venture was something that we all wanted from day one. In doing that, Def Jam recognized and gave us a great opportunity to come together,” said Brinkley.” “I have a great partner, Shana Sherman, and we have a team of young and dedicated individuals working extremely hard. We invested a lot of time and resources into finding and developing several hot young artists and providing them with the platform to be recognized. We are definitely building something special here, and it’s all based on the grind, hard work and great talent.”
DJ Khaled is on the move. During a press conference in Miami (Feb. 9), Khaled announced a partnership with Def Jam Recordings for his We The Best imprint. Under the deal, Khaled will also serve as the global creative consultant to Def Jam and UMG.
Khaled joins the label following an eight-year tenure with Epic Records. His run there included four Billboard 200 No. 1 albums, most recently his 2022 release God Did. He also netted six Hot 100 Top 10 tracks, highlighted by his 2017 chart-topper “I’m The One.”
“This new chapter marks a special time for me,” said Khaled in a press release. “The energy at this point in my career is at an all-time high and I’m grateful to Sir Lucian Grainge for allowing me to join his empire at this stage in my journey. Together, we will achieve even greater heights and take it to the next level. I feel blessed and so inspired with renewed energy. I’m excited to not only partner, but to come back home to Def Jam. Tunji Balogun is not only an extraordinary A&R, but a true music-man and visionary who continuously is responsible for introducing the world to some of its next greatest superstars. I’m excited to join my sister and visionary executive LaTrice Burnette once again, as we have had tremendous success on every single project we have collaborated on in the past. Def Jam is the culture and together we will make history yet once again.”
DJ Khaled is a great artist, hitmaker, mentor, and cultural innovator,” added UMG chairman/CEO Sir Lucian Grainge. “It gives me great pleasure to welcome him home to UMG where we look forward to working together to amplify his brilliant creative instincts and unique vision.”
Def Jam chairman/CEO Tunji Balogun also shared his jubilation regarding Khaled’s signing, saying: “Beyond a proven hitmaker, incredible producer, undeniable artist, and consummate showman, DJ Khaled occupies the rarified air of cultural icon. His uncanny ability to continuously have his finger on the pulse of the culture, to reach audiences all over the world in innovative yet authentic ways, and his remarkable savvy for marketing, promoting and eventizing everything he touches is absolutely second to none. We are thrilled to partner with DJ Khaled and We The Best, both as a multi-platinum, award-winning artist and as a valued executive. Without a doubt, Khaled can only make us better.”
Khaled is fresh off his Grammys performance of “God Did,” which featured Jay-Z, Lil Wayne, Rick Ross, Fridayy and John Legend. He also had five nominations at this year’s show.
Universal Music Group’s Def Jam Recordings is the latest major label imprint to venture into Web3 through the launch of a virtual band, The Whales. Comprised of cartoon NFT whale characters, the group’s debut full-length album has an all-star cast of producers and songwriters attached.
The deal is a partnership with The Catalina Whale Mixer, a collection of 5,555 NFT avatars on the Solana blockchain. Created by tech studio WAGMI Beach in December 2021, the concept of The Whales was born when co-founders Ben Willis and Joshua Andriano met with Def Jam’s DJ Mormile and Ryan Rodriguez. “We pitched the idea of a community-grown avatar group to DJ and [they] just got it,” says Willis. “To be working with Def Jam on releasing this one-of-a-kind new music project is a dream come true.”
Def Jam has not yet confirmed the musicians behind the project but says it will involve a “who’s who” of musical talent. The Whales’ first project will be released as a full-length album, while the group will tap into the broader Catalina Whales Mixer community to deepen the relationship between music and Web3 culture.
The virtual artist NFT playbook is becoming a trend among bigger record labels. The same concept was executed by 10:22PM — another Universal Music Group imprint — which licensed characters from the Bored Ape Yacht Club to create the animated band KINGSHIP. Warner Records’ Web3 subsidiary Probably a Label is also developing a virtual artist in collaboration with its 5,555 NFT holders through a voting system.
The team at WAGMI Beach — whose founders are music industry veterans themselves, previously at management company Indie Pop — believes this model will improve the way artists and labels engage directly with fans by letting them be part of the process. “At the core of all the NFT and Web3 attention is a fundamental technology change that will alter how music and art is consumed by generations to come,” said co-founder Alec Lykken. “This is our initial dive into what we believe to be an incredible new wave for artists and fans alike.”
Today (Nov. 11), the highly-anticipated sequel to the 2018 blockbuster film Black Panther, called Black Panther: Wakanda Forever, reaches theaters in the United States. But already, its soundtrack — released today through Roc Nation/Def Jam/Hollywood Records — is making waves: its lead single, “Lift Me Up” by Rihanna, debuted at No. 2 on the Hot 100 this week, the elusive singer’s 32nd top 10 record and first since 2017, and became just the fourth song this century to debut in the top 10 of the all-format Radio Songs chart.
It’s a considerable success, not just for Rihanna but for the Wakanda soundtrack as a whole, which is full of artists from Nigeria, Mexico, the U.K. and the U.S. and blends local language music and artists with the cultural connectivity of the film — and helps Def Jam’s executive vp/chief creative officer and one of the producers of the project, Archie Davis, earn the title of Billboard’s Executive of the Week.
“There’s a spiritual connection with this song and the conviction in Rihanna’s delivery that engages listeners,” Davis says about “Lift Me Up.” “I think once audiences see the film, they’ll feel that energy even more.”
Here, Davis tells Billboard about putting the soundtrack together, the impact of Rihanna’s involvement, as well as that of filmmaker Ryan Coogler, composer and producer Ludwig Göransson, and late Black Panther actor Chadwick Boseman, and the strategies behind marketing soundtrack albums as opposed to an artist’s album. “A great soundtrack reminds you of a film, but a great album feels so vivid that you can almost see it play out in your head,” he says. “We try to do both.”
This week, the lead single from the Wakanda Forever soundtrack, Rihanna’s “Lift Me Up,” debuted at No. 2 on the Billboard Hot 100 and became just the fourth song this century to debut in the top 10 of the Radio Songs chart. What key decision did you make to help make that happen?
It was a team effort, one thousand percent. It was important we set up the release properly on such a short timeline. A key component was carrying this record on tour around the world to make sure the right people heard it before it was released. Shout out to our radio teams at both Def Jam and Roc Nation for working tirelessly, leaving no stone unturned. All the records that our radio teams broke helped pave the way for us to debut in the fashion we did. The music video was also an integral component, which we shot on the Monday of release week and had out by that Friday. It was a complete effort by everyone to help us debut “Lift Me Up” with real impact.
This is Rihanna’s first song as a lead artist since 2016. How did you get her involved in this project?
I give all credit to the filmmaker for connecting with her when she saw the film. I think that helped move her emotionally to even want to be part of this project. Kudos to Ryan Coogler and Ludwig Göransson, and a million praises to Tems, Rihanna, Tunji, Wale, Davies, Jay Brown, Omar Grant, Shari Bryant, and the whole Roc Nation team for pulling it together. I also think, in a way, a lot of this came from Chad.
What was it about this song that you felt resonated so well, not just for the film but also among music fans?
Its relatability. The lyrics “Lift me up / hold me down, keep me close / safe and sound.” There are so many people we wish we could say that to. Those are words we tell our children, wish our ancestors could say to us, maybe even pray at times. There’s a spiritual connection with this song and the conviction in Rihanna’s delivery that engages listeners. I think once audiences see the film, they’ll feel that energy even more.
What did you want to get across with this soundtrack?
We wanted this project to be an immersive audio experience. I see the music existing as an invisible character, an extension of Wakandan culture that can be heard sonically and felt emotionally. These songs are all tied to emotions in a way I’ve never seen done before in a film. There’s an intentionality behind all the music, and my hope is audiences will be equally submersed in the music as they are experiencing the film. The two entities work hand in hand. There are a few different languages on the soundtrack, but those willing to research will find easter eggs through the music.
This album features a slew of Nigerian and Mexican artists, as well as American and British hip-hop artists. How did you choose who was involved and how did you make sure that it all fit together?
I think we chose by prioritizing authenticity to the story and understanding the nature of our platform. For example, while exploring Mayan Mexican culture it was important to choose artists that could relay such a precious identity. However, that’s not to say we couldn’t hear an artist like Rema shine the way he does on “Pantera” alongside Aleman. This is where Ludwig’s genius presents itself. He was learning how to construct these sounds with producers from their respective cultures while simultaneously experimenting. Authenticity was paramount. We also wanted to make sure the voices of many, even some that are lesser known, were represented. To think this movie and music would only resonate in the U.S. would’ve been a disservice.
Soundtracks can be hit or miss on the charts — some come and go, but some become massive hits. What goes into making a great film soundtrack that also translates to chart success?
In my opinion I believe it’s a great story, amazing narrative, and a host of incredible artists that care about the art being created. None of this can be done without amazing artists. If everyone understands the weight of the message we’re trying to convey it helps tremendously. My job is to make sure I help that message resonate within culture and the world. A massive amount of research goes into these projects, and direction from the composer and director helps as well. We’re ultimately trying to create a world that’s portrayed visually with music and there’s a great level of care that goes into each project. Those are general pillars, but each project is different from the last. Being able to learn, adapt and react is important. Sometimes there’s momentum or energy that comes from the least expected places that you must follow. It may lead to a dead end, but there’s something to learn in that process. Being able to harness those experiences and channel it holistically with a clear vision in mind all combines to make a great soundtrack.
What goes into developing and marketing a soundtrack like this as opposed to an artist’s album?
Soundtracks are worked on by lots of people, with many influences and real deadlines. When it comes to marketing a soundtrack, I feel like you’re also marketing the community to ensure it’s surrounded by the culture being represented. I think a key difference with a soundtrack is I have a built-in story I’m moving off of, whereas an artist is a blank canvas. An artist’s album a lot of times is someone’s real life experience. It’s a different conversation when you have to put your face out there as an artist. With a soundtrack like this you get to play make believe, in a way. There’s more room for imagination and that’s where we can expound upon as much as possible for the audience. A great soundtrack reminds you of a film, but a great album feels so vivid that you can almost see it play out in your head. We try to do both.
Kanye West‘s former record label and music publisher have joined a chorus of companies in denouncing antisemitic rhetoric following a rash of recent statements made by the rapper.
Though Universal Music Group (UMG) — which worked with West for many years via Def Jam and its merchandise company Bravado — and Sony Music Publishing (SMP), which administers West’s song catalog, no longer work with the rapper now known as Ye, both have taken a public stand against his recent antisemitic comments in statements sent to Billboard.
A spokesperson for UMG clarified that “Def Jam’s relationship with Ye as a recording artist, Def Jam’s partnership with the GOOD Music label venture and Ye’s merchandise agreement with Bravado all ended in 2021.” The company owns the copyright on his recordings up to 2016 and distributed his recordings until last year. The spokesperson continued, “There is no place for antisemitism in our society. We are deeply committed to combating antisemitism and every other form of prejudice.”
SMP has been the administrator for West’s extensive catalog of musical works for years but the rapper’s publishing administration deal expired in early 2022. In an internal memo to employees, Sony leadership assured their staff that “at Sony Music Group, commitment to tolerance, inclusion and equality for all are at the heart of who we are as a company. Consistent with these values, we denounce antisemitism. Through our partnership with the UJA Federation, we work to combat prejudice against the Jewish community.”
Pursuant to the old agreement, SMP will continue to administer West’s musical works for an undisclosed period of time. Because SMP’s dealings with West were purely administrative and did not include ownership, after this period ends the company will no longer have any interests in his catalog.
West’s former manager, Scooter Braun, who is Jewish, posted a graphic today on Instagram, seemingly in response to his former client’s recent statements. “First they came for the Socialists, and I did not speak out — because I was not a Socialist. Then they came for the Trade Unionists and I did not speak out — because I was not a trade Unionist. Then they came for the Jews, and I did not speak out — because I was not a Jew. Then they came for me — there was no one left to speak for me,” the post read.
These statements all follow West’s three-hour interview with MIT scientist Lex Fridman on Tuesday in which the rapper said, “It’s genocide and population control that Black people are in today in America, that is promoted by the music and the media that Black people make, that Jewish record labels get paid off of.”
Earlier on Tuesday, Adidas announced that it had ended its partnership with the Yeezy designer and rapper over his offensive remarks — a decision that the German sportswear brand said will affect its bottom line significantly — after celebrities and others on social media urged the brand to join the many other companies in fully cutting ties with West. As a result of being dropped from Adidas, West has lost his billionaire status, according to Forbes.
In a now-removed episode of the Drink Champs podcast, West told interviewer N.O.R.E., “the thing about it being Adidas is, like, I can literally say antisemitic s–t and they can’t drop me … I can say antisemitic things and Adidas can’t drop me. Now what?”
The hateful and discriminatory rhetoric West voiced on Drink Champs followed a number of other concerning statements from the rapper in recent weeks. On Oct. 3, the rapper wore a White Lives Matter shirt to his Yeezy Paris Fashion Week show. Just days later on the evening of Oct. 8, he sent out a tweet saying he wished to go “death con 3” on Jewish people, which was subsequently removed by Twitter. West is currently suspended from Twitter and Instagram for antisemitic posts that the social networks both said violated their policies.
Over the weekend, a group of demonstrators, inspired by West’s antisemitic remarks, unfurled a banner on a Los Angeles overpass that read “Kanye is right about the Jews.”
Other business partners of West’s have also dropped him in recent weeks, including Creative Artists Agency, MRC, Balenciaga and JPMorganChase, though the latter relationship was severed prior to the rapper’s antisemitic outbursts. On Tuesday, Gap said it was taking immediate action to remove all West-related products from shelves a month after the rapper severed his relationship with the retailer.