Music

Tim Bowman Jr. & Faith City Music Lead Gospel Airplay Chart With ‘Nobody But God’

Tim Bowman Jr. banks his third chart-topper on Billboard’s Gospel Airplay chart, and backing choir Faith City Music adds its second leader, as “Nobody But God” ascends to No. 1 on the survey dated July 13. The song increased by 8% in plays during the June 28-July 4 tracking week, according to Luminate.

Bowman Jr., who hails from Detroit, co-authored the track with Demi Borders and Joshua Davis, and he co-produced it with Pjay Edmund.

“This is my third No. 1 hit, and I couldn’t be more grateful,” Bowman Jr. tells Billboard. “The way that radio listeners have rallied around this song blows my mind.”



Bowman Jr. previously topped Gospel Airplay for two weeks in June 2023 with “Jesus,” also with Faith City Music and Le’Andria Johnson, and “I’m Good,” which led the list for a week in February 2016.

Bowman Jr. boasts two other top 10s among his eight Gospel Airplay chart appearances: “Fix Me,” which rose to No. 6 in April 2017, and Vickie Winans’ “How I Get Over You,” on which he’s featured (No. 3, December 2009).

“Nobody But God” is from Bowman Jr. and Faith City Music’s LP Welcome to Faith City, which arrived at its No. 4 peak on Top Gospel Albums in November 2022, becoming his third top 10 and Faith City Music’s first.

Plus, like father, like son: Bowman Jr.’s dad, Tim Bowman, a noted jazz and gospel artist, has also hit the Gospel Airplay top 10, as “My Praise” reached No. 8 in 2005.

Megan Thee Stallion Turns ‘Sailor Moon’ Into ‘Sailor Hottie’ for Viral TikTok Dance: Watch

Megan Thee Stallion loves her some anime. The Houston rapper transformed Sailor Moon into Sailor Hottie while cosplaying one of her favorite anime series.

Meg posted a TikTok on Tuesday (July 9) that’s gone viral and has over six million views as of press time. In the 12-second clip, Thee Stallion rocks a blue skirt and white gloves to go with her blonde wig to nail the Sailor Moon cosplay. Megan Thee Sailor trades in her twerking expertise to show off a few dance moves while gyrating to her Megan album standout “Mamushi” featuring Japanese rapper Yuki Chiba.

TikTok’s official account hopped into the comments with a nod to her lyrics: “Watashi wa thee sailor hottie.” Another fan gushed: “OKAY SAILOR MOON Megan eats the cosplays up!”

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“Mamushi” was one of three tracks to hit the Billboard Hot 100 from the Houston Hottie’s Megan album, as it debuted at No. 68 just a lot behind “Otaku Hot Girl” on the chart.

It’s not the first time Megan has rocked the Usagi Tsukino-inspired outfit. During her first trip to Japan in 2022, the “WAP” rapper donned the schoolgirl wardrobe while performing on stage. “No like you have no ideaaaa how happy I am in Japan,” she wrote at the time on X.

Megan completed her “rebirth” with the arrival of her Megan album on June 28, which featured UGK, Victoria Monet, GloRilla, Big K.R.I.T. and more. The LP debuted atop Billboard’s Top R&B/Hip-Hop Albums chart after moving 64,000 equivalent album units in the U.S. for the tracking week of June 28 – July 4, according to Luminate.

Watch Megan’s TikTok below.

Joe Jonas Announces Single ‘Work It Out’, Says He’s ‘Excited & Emotional’ About New Music

Joe Jonas is diving back into his solo music career.

The 34-year-old Jonas Brothers star took to Instagram on Wednesday (July 10) to reveal that his new single, “Work It Out,” will be arriving on July 19. “I’m both excited and emotional as I’m gearing up to release new music,” he wrote in the post, with a scenic mountain and lake landscape in the background. “I’m humbled and grateful to collaborate with some of my favorite musicians and creators. I hope you find as much happiness and peace as I do when you listen to these songs.”

Back in March, Joe teased solo music on the horizon when he posted a clip with the caption, “The way I would’ve bodied this trend if I weren’t in the studio working on something new.” The following day, he replied to a fan’s comment daring him to share what he was working on with a 13-second video of his collaborators playing guitar in a recording studio.

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Between Jonas Brothers and DNCE, Joe is a part of several musical collectives, but it’s been 13 years since he released his only solo album, 2011’s Fast Life. Led by the Chris Brown-penned “See No More,” which peaked at No. 92 on the Billboard Hot 100, the LP peaked at No. 15 on the Billboard 200. Jonas would go on to oscillate between Jonas Brothers and DNCE releases, while younger brother Nick Jonas enjoyed a more consistent solo career before the brothers reunited in 2019.

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Toby Keith’s Catalog Up 165% in Streams for 4th of July

Welcome to Billboard Pro’s Trending Up column, where we take a closer look at the songs, artists, curiosities and trends that have caught the music industry’s attention. Some have come out of nowhere, others have taken months to catch on, and all of them could become ubiquitous in the blink of a TikTok clip. 

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This week: The biggest 4th of July bump comes for a late country legend, while Zach Bryan’s Independence Day-dropped new LP produces a new hit and Bossman Dlow continues his 2024-long winning streak.

Toby Keith, Forever Made in America



Last Thursday, America celebrated its Independence Day — and as always on the 4th of July, listeners flocked to familiar patriotic, inspirational and/or generally U.S.-themed pop, rock and country classics to soundtrack their holiday. Big gainers from July 3 to July 4 included many of the usual suspects: among them, Bruce Springsteen’s “Born in the U.S.A.” (up 524% in official on-demand U.S. streams to 2.7 million and up 219% in sales to 1,100), Katy Perry’s “Firework” (up 249% to 1.8 million streams and 186% to 500 in sales) and Miley Cyrus’ “Party in the U.S.A.” (up 196% to 2.9 million streams and 113% to 800 in sales), according to Luminate. But the artist with the biggest of 4th of July gains might’ve been one folks were particularly sentimental about this year: Country Music Hall of Famer Toby Keith, who died at age 62 on Feb. 5.

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Of course, Keith has always seen some degree of a 4th of July boost — particularly for his most explicitly American-themed hits, which were all up again this year, including “American Soldier” (up 308% from July 3, to 685,000 streams), “Made in America” (up 380% to 914,000 streams) and of course, the controversial post-9/11 anthem “Courtesy of the Red, White and Blue (The Angry American)” (up 356% to a whopping 3.6 million). But this year, it wasn’t just those songs that saw huge streaming gains on July 4: so did non-nationalist signature Keith smashes like 1993’s “Should’ve Been a Cowboy” (up 70% to 864,000), 2003’s Willie Nelson-featuring “Beer for My Horses” (up 124% to 644,000) and 2011’s “Red Solo Cup” (up 119% to 351,000), among many others.

All in all, Keith’s catalog racked up 10.7 million streams and 3,600 digital song sales on July 4 — gains of 165% and 251%, respectively, from his July 3 totals — making for a hell of a nationwide tribute to a performer who made his love of his country as fundamental a part of his artistic identity as any other major act of the past three decades. – ANDREW UNTERBERGER

“28,” Days Later: Zach Bryan Has His ‘Bar Scene’ Breakout



Over the past two years, Zach Bryan has become the type of stadium-occupying superstar who floods streaming charts whenever he puts out a new album; it happened in 2023 with his self-titled full-length, and it’s happening again with The Great American Bar Scene, which was released last Thursday (July 4). And while “Pink Skies,” the lead single from the album, debuted at No. 6 on the Hot 100 following its May release, the best-performing new track from the just-released 19-song project in the first few days of its release has been “28,” the album’s wistful, string-laden sway-along.

“28” bowed with 2.77 million official on-demand U.S. streams on Bar Scene’s release date, according to Luminate, and has stayed steady over the next four days — and actually seems to be growing, scoring a new daily streaming high of 2.90 million on Tuesday, in fact. While multiple songs from Bar Scene could register Hot 100 debuts next week, “28” — which is up to No. 9 on Spotify’s Daily Top Songs USA chart, and No. 3 on Apple Music’s Top Songs — should notch the best start out of the new songs on Bryan’s latest. – JASON LIPSHUTZ

Bossman Dlow Scores Yet Another Hit Thanks to Viral TikTok Trend 



After making a splash on the Billboard Hot 100 — “Get In With Me” (No. 49) and “Mr Pot Scraper” (No. 93) — and earning a bevy of viral hits along the way (“Big One,” “Talk My Shit” and the Glorilla-assisted “Finesse”), Port Salerno, FL rapper Bossman Dlow stands as one of the year’s biggest breakout stars. With “Shake Dat Ass (Twerk Song)” gaining major traction on socials and streaming, Dlow is eyeing yet another hit. 

According to Luminate, “Shake” earned just over 317,000 official on-demand U.S. streams during the period of June 7-13. That figure then jumped by 60% to 508,000 official streams the following week (June 14-20). On June 16, TikTok user @mrflawdaaa shared a 14-second clip of himself exaggeratedly dancing to the song. The clip quickly went viral – it has since collected over three million views on the app – with many users latching onto the part of the choreography that features a glitchy sexy walk. During the period of June 21-27, the first full week with the @mrflawdaaa’s dance trend in the zeitgeist, “Shake” pulled 1.54 million official streams, marking a massive 203% increase from the period prior. The following week (June 28-July 4), the runaway hit leapt a further 117% to a whopping 3.35 million official streams. Over the past three weeks, official on-demand U.S. streams for “Shake Dat Ass” have exploded by over 956%.  

Although he peaked at No. 20 on the Billboard 200 earlier this year with his third mixtape, Mr Beat the Road, “Shake Dat Ass” is featured on the rapper’s self-released debut project, Too Slippery, which dropped on Jan. 1, 2023. With everyone from Kehlani to Taye Diggs to Coi Leray hopping on the dance trend, “Shake” looks poised to continue its growth. – KYLE DENIS

Grupo Firme Talks Demi Lovato Collab, Mexican Music’s Global Domination & More

Grupo Firme took over Miami with its La Última Peda Tour, making a stop at the Kaseya Center on June 1. But before the regional Mexican band even took the stage, Billboard hung out with its members a few days before for exclusive behind-the-scenes footage and a one-on-one interview.

“It’s not our last tour,” Firme’s frontman Eduin Caz clarifies in the latest installation of Tour Stop With Billboard. While the tour’s name might suggest otherwise, Caz is crystal clear that what the name actually hints at is more ironic than anything suggesting that “the ‘last party’ actually never happens.”

Grupo Firme also spoke about an upcoming collaboration with Demi Lovato, which is set to arrive as música mexicana continues to dominate the Latin music scene. “Demi Lovato is an artist whom we’ve admired since we were kids,” Caz shares. “We would watch her on television and luckily the collaboration happened and the song is really good.” He also adds that he spoke in English and she was “kind enough” to also speak Spanish.

“Mexican music has grown so much,” says Firme’s Jhonny Caz (also Eduin’s brother). “Yes, some collaborations that you might have not imagined a few years ago with artists who want to make Mexican music are happening today. It shows that music breaks many barriers, many boundaries. I hope these collaborations will continue and see what the future holds.”

Back to live music and the tour, Firme shares what a pre-show is like for them. “We can’t say it here on camera,” the brothers joke. “The truth is that a pre-show is just something natural. We’re listening to music. Before the show, we start the show,” Johnny says. “Before the show we have some drinks,” adds Eduin.

Grupo Firme’s La Última Peda Tour continues with stops in Chicago, Austin and Las Vegas. Watch the band’s interview for Tour Stop With Billboard above.

8 Best Quotes From ‘Wonder Women of Latin Music’ Panel at LAMC 2024

The Latin music landscape is undergoing a bigger transformation where women are not only stepping into the spotlight, but also reshaping the industry through leadership, innovation and a commitment to diversity and inclusion. This was demonstrated by top female executives and industry members at the Wonder Women of Latin Music panel, which kicked off the Latin Alternative Music Conference (LAMC) on Wednesday (July 10) morning in New York.

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Moderated by Billboard‘s Griselda Flores, the panel featured Kemelly Figueroa-Mouriz of Loud And Live, Yasmin Muller of Spotify, Fabi Kulick of Live Nation, Rocio Guerrero of Amazon Music, Isabel Paz of the Latin Recording Academy, Gabriela Urquiza of GlamRock Agency and Celia Saez of The Orchard, all female Latin music wonders who took to the microphones at the InterContinental Hotel for a candid conversation about why female solidarity and representation is critical in the music industry.

“Having female leadership has been crucial for my professional development, because we understand each other and know the challenges we face, such as the glass ceiling,” said Saez of The Orchard, for example.

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Here are some of the best and most memorable quotes from the Wonder Women of Latin Music panel at LAMC 2024:

Kemelly Figueroa-Mouriz of Loud And Live on diversity initiatives: “I have a lot of experience in mentorship. I think that has forced me to go outside of my circle and find the solution to allocating voices. Going outside and seeking them has been so amazing — seeing that support, and receiving that support. I think it’s important to see that not only are we all here together to have the conversation but also to celebrate. This generation coming in, it’s important to seek and establish relationships, nurture these student-mentor connections.”

Yasmin Muller of Spotify on artist development: “I’ve been involved in curation and programming, and a big part of our job is to discover new artists and help them gain exposure. We’re always asking, ‘Why are we passionate about this artist, and why should you give them a chance?’ However, I often consider the [flip] side: finding an artist with talent and working with them in a meaningful way, utilizing my experience. Working with artists is incredibly challenging; it’s a job that never stops and requires constant thought. But it would be fascinating to apply all my experience to support a talent I truly believe in, particularly women in challenging industries.”

Fabi Kulick of Live Nation on career resilience: “You should never be afraid to lift yourself up and start from scratch. This industry might look glamorous and indeed, it is fun. You get to support artists, work with talented people, and meet incredible professionals who often become friends. However, I’ve experienced my share of downturns where I’ve had to start over, even with 12 years of experience. At that time, I made an entry-level decision to join a major label. I knew that once I demonstrated my work ethic and experience, I would grow. And here I am today, eight years later.”

Griselda Flores of Billboard on supporting the next generation: “The process is crucial because it teaches you what you want and don’t want in your career, including what’s non-negotiable and what you’re willing to accept. I always advise taking whatever job you can get, because you gain so much experience from it. It’s all part of the process of reaching your goals. An important piece of advice I received, and always think about, is not just to push the door open but to hold it open. Don’t let it shut behind you; hold it for those who are coming next.”

Rocío Guerrero of Amazon Music on the influence of mentorship: “I feel like I have learned from so many people — peers, managers, mentors, team members — and honestly, from every conversation I have, there’s always something to learn. I do want to especially acknowledge my mom. She’s a music professor who not only introduced me to the magic of music but also taught me from a very early age that it is indeed possible to be a good mother while having a rewarding career. This has made me confident in the possibility of achieving both.”

Isabel Paz of The Latin Recording Academy on gender collaboration: “The most beautiful thing is that men and women can work together. When it comes to working with women, instead of competing, let’s add up!”

Gabriela Urquiza of GlamRock Agency reflects on gender challenges in the past: “In 1993, there were not many women working in the industry. I started working in a company, which was up to date for its time, and I was lucky to have bosses who did not make gender distinctions. Even though it was quite a macho industry at the time, these bosses always gave me a place and support, standing out regardless of the prevailing machismo.”

Celia Saez of The Orchard on female leadership: “I was fortunate enough to start my career in a company led by women in 1996 who encouraged female leadership, and where the top management positions were held by women. Fortunately, I had female colleagues who shared the same vision — and, although I have now been here for 12 years, I have always found myself in female-dominated environments. This has been crucial for my professional development, because we understand each other and know the challenges we face, such as the glass ceiling. For me, always being surrounded by women has been a great help. While there have been very influential men in my career, I want to emphasize the impact of this female dynamic.”

Celebrating its 25th anniversary, the 2024 edition of the Latin Alternative Music Conference includes a Q&A with Fonseca, moderated by Billboard‘s Leila Cobo; a Q&A with Residente, moderated by Rolling Stone‘s Julyssa Lopez, panels on the Business of Songwriting, Publicity and Social Media, New Releases and Catalogs, Bridging Music and Money, and a talk on 25 Years of LAMC: Latin Music’s Past, Present & Future. To see the full LAMC guide, click here.

Peter Frampton & Patty Smyth to Play City Parks Foundation Benefit Feting John McEnroe and Patrick McEnroe

A month ahead of his induction into the Rock & Roll Hall of Fame, Peter Frampton will help honor an International Tennis Hall of Famer when the guitar god joins the party at the 2024 City Parks Foundation Dinner & Concert Benefit.

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At the SummerStage venue in Manhattan’s Central Park on Sept. 26, the City Parks Foundation (CPF) will jointly honor John McEnroe and Patrick McEnroe with the City Parks Foundation Icon Award. Nadir Settles, the global head of real estate impact at Nuveen Real Estate, will be honored with the People & Parks Award.

During the course of the evening, Frampton – whose era-defining double-LP Frampton Comes Alive! topped the Billboard 200 for 10 weeks in 1976 – will perform a set (and he has six top 20 hits on the Billboard Hot 100 to choose from), as will Patty Smyth, the singer-songwriter and former Scandal singer who scored a top 10 on the Hot 100 with “The Warrior” (alongside Scandal) in 1984 and another top 10 on that chart in 1992 with “Sometimes Love Just Ain’t Enough,” a Don Henley duet. Smyth will perform with a house band led by Steve Jordan, a veteran musical director and the touring drummer for the Rolling Stones. The concert portion of the evening is produced by RWE Partners.

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Upon learning of his impending Rock Hall induction back in April, Frampton told Billboard he was “blown away,” adding, “It’s an honor people regard me in this way.”

Tickets for the concert and dinner benefit event are available on City Parks Foundation’s site. CPF presents free arts and cultural programs in NYC parks throughout the year and helps make the city’s green spaces accessible for all people.

Will Zach Bryan’s ‘The Great American Bar Scene’ Be the Album to Unseat Taylor Swift Atop the Billboard 200? 

The Contenders is a midweek column that looks at artists aiming for the top of the Billboard charts, and the strategies behind their efforts. Next week (for the upcoming Billboard 200 dated July 20), Taylor Swift aims to secure her longest run at No. 1 to date, but may be interrupted by another star’s new set.  

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Zach Bryan, The Great American Bar Scene (Belting Bronco/Warner): The 2020s have marked one long rise to superstardom for singer-songwriter Zach Bryan. The country and Americana artist’s presence on streaming and as a live draw grew from project to project, with his mainstream breakthrough coming in 2022 with his American Heartbreak album and its hit single “Something in the Orange,” and then hitting a new peak in 2023 with his Billboard 200-topping self-titled set and its accompanying Billboard Hot 100-topping Kacey Musgraves collab “I Remember Everything.” Now, in the midst of an arenas-and-stadiums U.S. tour, Bryan releases his first album as a no-doubt A-lister: The Great American Bar Scene.  

The 18-track new set already boasts one major hit in lead single “Pink Skies,” which debuted at No. 6 on the Hot 100 in June and is still hanging around the chart’s top 15 this week, and a second Hot 100 entry in “Purple Gas,” which features Noeline Hofmann (and is a redo of a song she originally wrote and recorded). The record also features first-time collaborations with a pair of artists who have extensive chart histories of their own — John Mayer on “Better Days” and Bruce Springsteen on “Sandpaper” — and already has something of a new breakout hit of its own in shuffling ballad “28,” which is still in the top 10 on both Spotify’s Daily Top Songs USA chart and Apple Music’s realtime listing. (If the Springsteen track debuts on the Hot 100, it will mark his first entry since 2009, and if it goes any higher than No. 95, it will be his highest-charting hit in nearly 20 years (since 2005’s “Devils & Dust” reached No. 72).)

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The set should stream in highly robust numbers – but it does have a couple factors working against its chances of a No. 1 debut. For one, Bryan pushed to have the album released on July 4 – last Thursday – rather than the usual Friday drop, meaning that its first day of stats count towards this week’s chart, not next week’s. (Its opening-day numbers were still big enough on their own for the album to debut at No. 17 on the Billboard 200 dated July 13.) More pressingly, the LP is currently only available for sale in digital form, with its release on CD and vinyl not due until Oct. 11. And while “28” is off to a good start, it’s not a real threat to debut atop the Hot 100 like “I Remember Everything” did.  

The album is still expected to follow Zach Bryan – which launched with 200,000 units in its debut week last year – with another six-digit first week, which should make it a real contender for the top spot next week. But since the album’s first-full-week performance was hobbled a little by its off-cycle debut, whether Bar Scene can get to No. 1 may depend on whether it can stay a consistent performer on streaming through the end of the week.  

Taylor Swift, The Tortured Poets Department (Republic): The Tortured Poets Department has ruled atop the Billboard 200 since debuting there back in early April, fending off debuts from Dua Lipa (Radical Optimism), Gunna (One of Wun), Billie Eilish (Hit Me Hard and Soft), ATEEZ (Golden Hour: Part 1) and Gracie Abrams (The Secret of Us), all of which debuted at No. 2 behind Taylor Swift’s blockbuster. Even in its 11th week of release, Poets remains a very strong performer – posting 114,000 equivalent album units this week, as the 31-track set (in its full Anthology edition) continues to put up robust streaming numbers, and also sell well in its various editions.  

More of those new variants may be on their way to fans this week. On July 7, Swift restocked seven previously available CD editions of Poets on her webstore, each featuring a different exclusive bonus track — which were only available to purchase that day, and (according to the webstore) were due to ship on or before July 10, and could impact the tracking week. On Monday, Swift also released two new versions of the album’s lead single, the Post Malone-featuring “Fortnight,” to DSPs and digital retailers: a new Cults remix of the song, and an acoustic version of it. (The latter had previously been available via a limited edition CD version of Poets, and is currently in the top 10 on the iTunes chart.)  

Taylor Swift has fought hard to maintain the chart’s pole position for over two months now, and will certainly make Zach Bryan earn the spot if he is to take it from her with his new album. What’s more, Swift has particular reason to be motivated to go for the 12th frame at No. 1 for her new set: With one more week on top, Poets would break a three-way tie with 2008’s Fearless and 2014’s 1989 to become the longest-ruling album on the Billboard 200 of the pop superstar’s entire storied career.  

DeMar DeRozan Speaks on ‘Not Like Us’ Cameo: Kendrick Lamar Is ‘D–n Near Family’

DeMar DeRozan addressed his controversial “Not Like Us” cameo. During an interview with Sacramento’s Fox affiliate Fox40’s Sean Cunningham, the new Sacramento Kings player talked about how he ended up in Kendrick Lamar‘s video and whether or not the Kings are still allowed to play Drake inside their home arena the Golden 1 Center.

“We love Drake, we always can play him,” the former Toronto Raptor said. “Kendrick been a friend of mine, family. D–n near family, for a long time, for a while. We’re from the same city, we grew up d–n near in the same neighborhood. … It’s always been there. It hasn’t always been publicized, but, you know, that’s basically family.”

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Kendrick name-dropped DeRozan in the second verse of his massive Drake diss song “Not Like Us,” rapping, “I’m glad DeRoz’ came home, y’all didn’t deserve him neither,” referencing the six-time All-Star getting traded from the Toronto Raptors to the San Antonio Spurs for Kawhi Leonard back in 2018.

Not only did DeMar make a cameo in the song’s video when he was mentioned, he was also in attendance at Kendrick’s Pop Out concert on June 19, and was one of the first people to hit the stage to dance to the song while K. Dot was performing it.

DeMar played his first nine seasons in the NBA with the league’s only Canadian team, and appeared on the June 2016 cover of Slam magazine alongside Drake and then teammate Kyle Lowry when he was a member of the Toronto Raptors.

Watch DeMar DeRozan’s interview with Fox40 below:



Motion Picture Academy Renews Its Jonas Gwangwa Music Composition Initiative

The Academy of Motion Picture Arts and Sciences on Wednesday (July 10) announced the second year of the Jonas Gwangwa Music Composition Initiative, a career development program for Black musicians interested in composing music for film. The program, launched in 2022, provides real-world experience, one-on-one mentorship and networking opportunities with an aim to foster broader representation in film music composition. 

The program is named in memory of the late South African jazz musician, composer and producer Jonas Gwangwa. Gwangwa, who died in January 2021 at age 83, received a pair of Oscar nominations for best original score and best original song for his collaboration, with George Fenton, on Cry Freedom (1987).

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Program partners are Universal Music Group’s (UMG) Task Force for Meaningful Change (TFMC), Mercury Studios, Universal Music Publishing Group Classics and Screen, Decca Records and UMG’s Globe.

The program is open to U.K.-based and U.S.-based Black artists and composers with at least three years of work experience as a musician.  Four participants, two in the U.K. and two in the U.S., will be selected through an application process. Participants will receive access to Academy members across various branches to gain an understanding of the filmmaking process; one-on-one mentorship with a member of the Academy’s Music Branch to learn about the practical aspects of composing for film; access to Academy events and screenings in London and Los Angeles; and introductions to leading practitioners from all areas of film music, among other mentorship programming.

Participants will be matched with a filmmaker who is in the process of making a short film and will be given the opportunity to compose music for the film.  Each participant will receive a grant to help support their film composition projects.

“After an incredibly successful first year, the Academy is excited for the second year of Jonas Gwangwa Music Composition Initiative,” Kendra Carter, academy senior vice president, impact and global talent development, said in a statement.  “Our goal for this program is to stimulate long-term career opportunities within the film industry for underrepresented musicians, and we thank our partners within Universal Music Group and our Academy members, whose passion, dedication and expertise enable this work.”

“The life and legacy of Jonas Gwangwa’s commitment as an artist-activist who used music as a tool for social change is undeniable and it’s an honor to celebrate him with this program,” said Menna Demessie, Ph.D., senior vice president, UMG and executive director, Task Force for Meaningful Change. “This initiative will continue to help create space for a more diverse cadre of film music composers and ultimately provide career opportunities that will advance the industry itself.”

Applications for the Jonas Gwangwa Music Composition Initiative are currently open. For more information, visit the Academy’s website.