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13 Oct 2023

Executive Turntable: H8WG Goes Wild in LA; Atlantic Ups VP of Marketing and Digital

If it’s Friday that means another spin around the Executive Turntable, Billboard’s comprehensive(ish) compendium of promotions, hirings, exits and firings — and all things in between — across the music industry.

Hard 8 Working Group is now live in La La Land. The Nashville-based music management company promoted Aimee Beren to lead its brand-new Los Angeles office, alongside artist manager Michael Duda. With an office in New York as well, H8WG can now boast of bi-coastal bonafides as it continues to build a client roster that includes hardcore elder statesmen Jawbreaker, hard edged Daughtry and alt-rockers All Time Low, All-American Rejects and Boys Like Girls, among others. The company also recently launched a record label with Big Machine. Both Beren and Duda came most recently from Prodigy Artists Management, where Beren was vp of operations and Duda managed artists. Beren got her start at Three Six Zero, where she worked with deadmau5, R3HAB and others. “Aimee has been an absolute stellar part of the H8WG team which alone more than qualified her for this job, but being from LA and having the desire to move back there just made this work out perfectly for all of us,” said Dirk Hemsath, H8WG co-CEO and co-founder.

Atlantic Records promoted Bianca Ortega to vice president of marketing and digital, effective immediately. Based in LA, Bianca recently celebrated 10 years at Atlantic, where she has worked on key projects including Charlie Puth, BRELAND, Oliver Tree, Barbie The Album and more. Following an internship there, Ortega officially joined the label in September 2013 working supporting roles in marketing and video production before rising the ranks — most recently as senior director of marketing and digital. Ortega reports directly to Brian Dackowski, executive vp of viral marketing & analytics.

Warner Music Nashville executive vp of artist development Shane Tarleton announced his departure from the label, concluding a 13-year run. He plans to unveil his next move in early 2024. Tarleton got his start in music in 1998 in the creative department of RCA Records, where he worked under the wing of vp of creative services Mary Hamilton. After leaving RCA in 2004, he dabbled in writing, artist management and event production before joining WMN in 2010, eventually rising to overseeing marketing, brand sponsorships, digital interactive and creative services for the label.

Dinesh Ratnam has been appointed managing director of Warner Music Malaysia, where he will oversee the company’s operations out of Kuala Lumpur, and will report to Warner Music Asia co-presidents Chris Gobalakrishna and Jonathan Serbin. He joins WMG from VOD streaming service iQiyi, where he served as senior director in the international business department and was country manager for Malaysia, Singapore and Brunei. Before that, he held key roles at iflix, another prominent VOD service in the region, and tech company the Catcha Group. The WMM roster of local talent includes Adam Lee, Masdo, Janna Nick and Bunga, among others. “With its vibrant diversity and immense talent, the Malaysian music scene serves as a vital hub for cultural exchange and artistic expression,” said Gobalakrishna. “Dinesh’s appointment signifies our dedication to nurturing this thriving ecosystem.”

BrickHouse Entertainment CEO and founder Scott Brickell and SMP Consulting leader Ron Smith have entered a joint partnership, with SMP Consulting operating cohesively under the BrickHouse Entertainment name. Brickell and Smith, along with Chase Swayze, are managing partners in the company, while Kim Davis has been promoted to chief operating officer. Also rounding out the organization are Caleb Gauntt and Jared Johnson. The combined artist roster includes hit CCM group MercyMe (whose “To Not Worship You” is currently in its fifth week atop the Billboard Christian Airplay chart) as well as CAIN, Micah Tyler, Caleb & John, Iveth Luna, Micah Christopher, Christian Paul and Bay Turner. –Jessica Nicholson

Neil Jacobson’s writer-producer management company Hallwood Media promoted Quinn McGinley to general manager of its recording division. In the new role, Chavez will focus on day-to-day operations of Hallwood Recordings, including publishing, distribution and (of course) recordings. McGinley joined Hallwood in October 2020 and was most recently a project coordinator. Jacobson, formerly president of Geffen, described McGinley’s musical instincts “unparalleled” and said his “incredible charm and kindness have won the hearts of everyone he encounters.”

Indie booking agency Sound Talent Group added Steve Kaul as an agent out of its newly established Nashville office. Kaul is a veteran of APA and CAA and brings along a roster of clients including Built to Spill, Vanessa Carlton and Citizen Cope, among others. LA-based STG opened its new Music City outpost in the Berry Hill nabe, with agents Beth Keith, Jonathan Wilson, Kaul and four others. STG co-founder Tim Borror calls Kaul ” one of my favorite people in the business” with “incredible success over the years. We’ve wanted him to be part of what we are doing from the beginning.”

ICYMI: Warner Music Group announced former Google executive Carletta Higginson as its new chief digital officer, replacing outgoing CDO Oana Ruxandra … and Francisco Granados was named svp of A&R at Warner Music Latina.

Venue management company ASM Global elevated Will Beekman to vice president of theater operations and content development. In addition to his current duties as booking director for ASM’s arenas in the Northeast, Beekman will now also be tasked with overseeing the day-to-day operations of the firm’s theater division, with focuses on branding, bookings and wider event planning. Beekman’s previous experience includes a 10-year tour as executive director at the F.M. Kirby Center for the Performing Arts.

Jess Partridge is the new executive director of the European Music Manager Alliance, or EMMA. She’ll spearhead policy, advocacy, partnerships and day-to-day management of the advocacy organization, which represents over 2,000 music managers across Europe and another 600 worldwide. “Managers and artists are at the heart of this industry and advocating for them, means advocating for a better music ecosystem for all,” said Partridge, who previously had a major part in launching PRS Foundation’s Keychange initiative for gender equality and is founder of the In Stereo music platform. You can reach Partridge at jess@emma.community.

Warner Chappell-backed publishing company Jody Williams Songs promoted Tenasie Courtright to creative manager. The Belmont grad joined the company in December and worked under senior director of creative Nina Jenkins on a roster that includes Vince Gill, Ashley McBride, Driver Williams and Jason Nix, among others. Reach Courtright at tenasie@jodywilliamssongs.co.

Last Week’s Turntable: WMG Flips the Script in Finland

13 Oct 2023

 The HighKey Ent. List: Top 5 Artists of 2023

This article was created in partnership with Highkey Enterprises.

Music fills our souls with hope, inspiration, and comfort. Highkey Enterprises Top Artists of 2023 exemplify these traits and have conquered the music world by rising above all the noise and rejection.

This article is created celebrate the visionary artists who have fearlessly carved their own path in this tightly competitive industry, propelling them to the forefront of the music world in 2023. Join us as we explore the stories of these extraordinary individuals who have dared to be different, leaving an indelible mark on the global music landscape and inspiring generations to come.

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GhostLuv Me

GhostLuvMe can trace his musical journey back to two pivotal moments from his childhood when he was 10 years old. The first was when he started learning to play the flamenco guitar, eventually leading him to create his music. The second moment was a tragic one, where he lost his mother and two sisters to gun violence. This event gave him a unique perspective on life, a source of inspiration for his rap name, and an insurance claim that helped finance his music career.

Born and raised in Broward County, Florida, GhostLuvMe moved to Los Angeles in 2017 to pursue his music career. However, he soon realized the city was geared more toward established artists than those trying to make a name for themselves. Nevertheless, his time in L.A. allowed him to work with renowned producer Scott Storch on developing his sound.

After his brief stint in L.A., GhostLuvMe moved back to the East Coast, this time to Atlanta. It was here that he achieved a significant milestone in his career with the release of the Ghosttoven tape, a collaborative effort with Zaytoven. Since then, he has collaborated with several artists, including Future, Lil Uzi Vert, Raekwon, and Ghostface Killah.

As a classically trained multi-instrumentalist, GhostLuvMe is highly proficient at playing anything with strings, piano, and drums. He is a prolific music creator, with thousands of songs to his name. While he can assemble, play, and produce his music, he enjoys collaborating with outside producers to add variety to his style. In 2023, he is set to release two tapes, Bohunk and Popstar Degenerate, produced by Brandon Finessin and Tragic, respectively.

Liam McDonald

Liam McDonald, known by his stage name OPLIAM, is a dynamic solo artist and the charismatic frontman of a three-piece rock band out of Chicago. Born and raised amidst the landscapes of Minnesota, Liam was deeply influenced by the region’s rich tradition of Indigenous activism, which ignited his passion for music and social change.

From a young age, Liam set the stage ablaze with his electrifying performances. He made his debut at numerous grassroots Native American environmental events across Minnesota.

Immersing himself in the vibrant Indigenous music scene, Liam had the privilege of sharing stages with renowned bands across the nation, including Grammy award winners Portugal The Man, Gogol Bordello, and The Halluci Nation. He has solidified his presence within the alternative rock community with a unique fusion of blues rock, alternative rock, and reggae influences.

Liam’s music acts as a powerful conduit for his dedication to Indigenous rights and environmentalism. One of his notable compositions, “Land Back,” serves as an anthem for the repatriation of native lands and highlights the connection between Indigenous people and their environment.

Liam has received well-deserved acclaim for his activism efforts. Penguin Random House even approached him to contribute to the esteemed “True History” literary series by writing an Indigenous history book. This opportunity allowed Liam to further amplify Indigenous voices and enlighten readers about the rich tapestry of Indigenous culture and struggles. Liam’s book, “Indigenous America,” received critical acclaim from the coveted “Starred Review” of The School Library Journal.

He’s not stopping there. Liam has just released his 3rd big project entitled “All Roads Are Good.” Wrote while on the road, the new album features a mixture of rock ballads and experimental and acoustic tracks. Recorded during quarantine, the project paints a painful yet beautiful representation of our current times. With each new artistic endeavor, Liam is changing the way we listen to music.

Robbie Tripp

Few artists this year have matched the creative output of viral rapper and internet personality Robbie Tripp. The polarizing Las Vegas artist has been on an impressive run of releases, adding an array of star-studded co-signs and collaborators to his projects.

Tripp made his mainstream debut with his single, “Chubby Sexy,” a catchy body-positive anthem that GQ Magazine crowned a “Moment of the Year” in its annual “Men of the Year” issue. Robbie’s next single, “Luka Doncic,” became a favorite of billionaire Mark Cuban at Dallas Mavericks games. Tripp—a former college basketball dropout—performed the song during the 2023 NBA All-Star Weekend in Salt Lake City.

Robbie Tripp’s true breakout moment as an artist arrived last summer when his Tik Tok viral track “Big Girl Banger” started a global trend of dance trend on the app. The official music video for “Big Girl Banger”—directed and produced by Tripp through his independent media production company, Desert Money—led Flaunt Magazine to refer to Tripp as “the wholesome Post Malone of body positivity.”

In 2023, Tripp shook the hip-hop world with the release of “Basic Bro,” a fiercely energetic single and music video that garnered millions of views across Tripp’s global platforms and spawned viral reactions on popular rap blogs WorldstarHipHop and No Jumper. Tripp followed up with “They Said” featuring BlocBoy JB, securing a massive co-sign from the Memphis rap star known for his song “Look Alive” with Drake, which peaked at number 5 on the Billboard Hot 100 chart.

The Las Vegas creator is currently riding the wave of his latest release, highly-anticipated single “I Wanna Have Fun…” produced by Andrew Dawson, a three-time Grammy-award winner and longtime mixing engineer for Kanye West’s best-selling albums.

Tripp tells Billboard: “I’m charged up on a dream!”

Youngest Flexer Alive

Youngest Flexer Alive is a rising music artist from Canada, now based in the vibrant city of Miami, where sunshine and blue skies fuel his creative energy. At 19 years old, this young prodigy is making waves in the music industry with his undeniable talent.

Born and raised in Toronto, Youngest Flexer Alive’s journey to success has been shaped by his passion for music from an early age.

Youngest Flexer Alive’s music resonates with audiences of all ages, capturing hearts with his unique blend of infectious beats and relatable lyrics. His upcoming debut single promises to be a compelling showcase of his talents, and his fans eagerly await its release. Committed to authenticity, he infuses each song with youthful energy and an honest reflection of his life experiences, ensuring a genuine connection with his growing fan base.

As an artist, Youngest Flexer Alive takes immense pride in his independence and creative control. He has actively collaborated with top-notch producers and fellow artists, channeling his vision into a captivating musical journey. The studio has become his sanctuary, where he refines his craft and unleashes his boundless creativity to push the boundaries of his musical expression.

Beyond his musical pursuits, The Youngest Flexer Alive is also focused on building his brand and expanding his reach. Recognizing the significance of connecting with his audience, he has skillfully utilized social media platforms to engage with fans and share glimpses of his artistic process. His presence on Spotify and other online platforms reflects his commitment to making a lasting impact in the music industry.

With unwavering determination and an unwavering drive to succeed, The Youngest Flexer Alive is destined for greatness. As he prepares to release his highly anticipated debut single, excitement and anticipation mount as his infectious energy and innovative approach promise to propel him toward a bright and promising future as an artist and young trailblazer. With the world at his feet, The Youngest Flexer Alive is ready to conquer the hearts of music enthusiasts worldwide and leave an indelible mark on the industry.

Elyrix

Broken dreams can be rebuilt, no matter how shattered. The proof? The person whose work enchanted the masses and earned him a place on this list: the ingenious and incredible musician called Elyrix.

By 17, he’d pocketed his first million, vibing to Rick Ross daily with his friends. But the high-rolling lifestyle of gambling, exclusive clubs, and endless nights out took its toll, draining every dollar. Yet, when many would’ve crumbled, Elyrix dug deep. Fueled by sleepless nights of coding and the beats of Rick Ross’ anthems, he hustled harder than ever. Through it all, the rhythm of music remained his anchor.

His early music provided a raw, unfiltered reflection of his journey. By the third album, collaborations with industry giants took center stage: beats with Atl Jacob, a track alongside Lil Baby, and a powerful feature with the very inspiration for his first million, Rick Ross. With other big-name features peppered throughout, the album showcased Elyrix’s undeniable pull in the music world. And as we await his fourth art piece at the end of the year, it’s evident: Elyrix isn’t just a name on a playlist. He’s an atmosphere, an emotion, a movement.

His fearless exploration across genres keeps listeners on their toes, always anticipating his next move. Each track is a fresh experience, a testament to his innovative spirit.

From Montreal to global stages, Elyrix’s story isn’t just about music. It’s about reinvention, resilience, and the relentless pursuit of one’s passion. Dive into his sound, and you’ll get it: Elyrix isn’t just making music; he’s crafting memories.

13 Oct 2023

Offset Gifts Cardi B $462,000 In Hermès Bags For Her Birthday

HipHopWired Featured Video

Cardi B and Offset at his Father Of 4 Album Release

Source: Prince Williams / ATLPics.Net

Social media knows that Offset and Cardi B have a history of showering each other with lavish gifts for the heck of it. So y’all already knew that when Cardi’s birthday came around, Offset was going to go all out as he has no problem splurging on his wife/baby mama.

According to Page Six, Offset broke his piggy bank and blessed Cardi B with a half a million dollars worth of Hermès bags for her 31st birthday this past Wednesday (October 11) and while that may sound like a bunch of purses, it was actually only three. Yes, three Birkin bags damn near totaled $500,000. That’s when you know you ballin’ outta control.

Still, the couple could afford it as they’re both very successful in their careers and while it may seem like a bit much for three accessories that can easily be lost at a venue or on a plane, Cardi ain’t complaining.

Per Page Six:

Cardi B squealed as she opened the first, which contained a hot pink crocodile Kelly bag; a similar style recently sold for close to $92,000 on 1stdibs.

But her next purse blew the first out of the water.

As she shimmied to the strains of Madonna’s “Vogue,” Cardi unboxed an extremely rare Faubourg Birkin — often called the “House Birkin,” as it’s modeled after Hermès’ Paris storefront on the Rue du Faubourg Saint-Honoré.

One of the purses is currently listed on 1stdibs for a staggering $298,975.

“My favorite!” Cardi screamed upon unwrapping the unique carryall, joking, “I don’t even think I’m ready to see the other one.”

Offset suggested she “take a shot” before opening her last box, which housed a glossy gold-colored crocodile Birkin.

A similar version sold at a Christie’s auction in 2020 for $72,000, bringing the total value of Cardi’s birthday gifts to approximately $462,975.

Most people won’t ever touch a Hermès bag nor ever see $400K, but for Offset and Cardi B it was just another night at the Delilah in West Hollywood.

Check out Cardi B stuntin’ for her birthday below and let us know your thoughts on Offset’s presents for his adoring wife in the comments section below.

13 Oct 2023

Bad Bunny Debuts New Album at Massive Listening Party in Puerto Rico

Can an album listening party with 16,000 guests feel cozy? Special? Evidently, yes. Bad Bunny made that happen on Thursday (Oct. 12) as he debuted his new LP, Nadie Sabe Lo Que Va a Pasar Mañana. 

Held at the iconic Coliseo de Puerto Rico José Miguel Agrelot (aka El Choli) in San Juan, the event’s itinerary was a mystery when announced. Would Bad Bunny show up? Or would fans simply hear the album track by track without him? Nobody knew. Still, tickets sold out within two hours of going on sale. 

Expectations were varied among the concertgoers, many of whom were giving Renaissance vibes in cowboy hats and boots and sparkly fringe tops and skirts. (Of course, Bad Bunny’s new signature, the blue L.A. Dodgers hat, was seen throughout the crowd, too.) Some fans were just happy to hear the album among friends and with top-notch sound. However, others hoped for more.

“Espero que Bad Bunny salga — en un caballo (I hope Bad Bunny comes out on a horse),” Dariana Cruz, 33, joked to Billboard. “He doesn’t have to sing, but he should come out at least.”

Cruz didn’t get her wish of him coming out on a horse, but Bad Bunny did show up — and in spectacular fashion. In the center of the arena floor, surrounded by clamoring fans, a souped-up vintage Rolls-Royce Silver Shadow — the same car used in the video for “Where She Goes” and in his 2023 Billboard Latin Music Awards performance — slowly lowered from the ceiling. Fans screamed. Bad Bunny was in the driver’s seat. 

Encircling the car below were a dozen or so dancers, all of them clad in black with faces totally covered by something akin to a balaclava, but with eyes sealed for an alien-like look. Bad Bunny wore the same, with a checkered handkerchief resting atop his head. 

The album kicked off with tracks playing in chronological order, beginning with “Nadie Sabe.” El Conejo nodded along subtly, matching the pensive tone of the song, in which he reflects on his trajectory. He started making music as a young teen 10 years ago, and today he’s almost 30, with five full-length albums and heaps of EPs and singles. In the song, Bad Bunny seems to grapple with his continuously spiking celebrity and the corresponding loneliness it apparently brings. 

That first number was crucial in setting the tone for the night. This is how Bad Bunny made thousands feel close to him, despite being some 20-feet above them in a luxury car 99% of his fans could never afford. There were moments during “Nadie Sabe,” and again throughout the night, when he seemed to look to the crowd, to truly look for individual faces, in search of feedback or approval.

Positive reactions from fans garnered gratitude from Bad Bunny in the form of prayer hands and a heartfelt head bow.

The energy ramped up as the night progressed, with trap-heavy tracks (he gave the people what they wanted) and perreo-ready jams. A surprising number, though, was the patiently paced “VOU 787,” which samples the wispy synth instrumentation of Madonna’s “Vogue.” 

Bad Bunny had an assist from a handful of album guests who climbed up into tiered rows on a giant hay-covered VIP area, situated in a corner of the venue floor. In attendance was Young Miko, Feid, Bryant Meyers, Arcángel and Tainy. Altogether, some 50 extra-special guests stood and danced on the Western-style edifice. 

Bad Bunny eschewed the mask a few songs in, and the suited singer began to dance outside the car. Little by little, the vehicle was lowering, and eventually, he hopped off the platform and headed into the crowd. He signed his signature sneakers, the shoes folks had waited in line for hours ahead of the show to buy. One concertgoer didn’t seem to have a marker at the ready, and Bad Bunny instead decorated the top of the shoe with a burgundy lip gloss that was handed to him. 

Bad Bunny then made his way into the VIP section. Unhurried, he greeted every single person in its six rows. Yet somehow, Bad Bunny maintained a certain choreography to his rounds, reaching several collaborators just as their songs began to play. To the crowd’s audible delight, he sang side-by-side with Feid for his feature “Perro Negro” and Arcángel’s “Acho PR.” 

The previously released “Un Preview” — dropped late in September as an album teaser, as the name implies — is the final track on Nadie Sabe Lo Que Va a Pasar Mañana, and as such, it capped the night. But Bad Bunny wasn’t finished surprising fans: Rather than simply play the song, he performed it. 

Bad Bunny sang from the VIP area, his collaborators and friends rooting him on. But he made his way down the makeshift haystack, closer to fans, who sang-screamed the lyrics back to him as they danced. Blasts of fog shot up around Benito as he thumped his fist to his chest and declared, “Puerto Rico, los quiero, puñeta.”

13 Oct 2023

HHW Gaming: Finally, Microsoft Closes $69 Billion Acquisition of Activision Blizzard, Phil Spencer Reacts

HipHopWired Featured Video

Microsoft Officially Acquires Activision Blizzard For $69 Billion

Source: Microsoft / Xbox / Activision Blizzard

After months of court battles, unfortunate document leaks, and social media discourse, Microsoft can officially welcome Activision Blizzard into the fold.

Call of Duty, Diablo, Overwatch, World of Warcraft, Starcraft, Candy Crush, and other titles have a new home: Xbox. Friday, October 13, Xbox Wire shared a post announcing the news Team Xbox has been waiting months, if not years, to hear the $69 billion Activision Blizzard acquisition is a done deal.

Phil Spencer happily announced in the blog post that Xbox is now working on bringing Activision Blizzard’s library of games to Game Pass.

“Today we start the work to bring beloved Activision, Blizzard, and King franchises to Game Pass and other platforms. We’ll share more about when you can expect to play in the coming months. We know you’re excited – and we are too,” Spencer said.

PlayStation & Nintendo Gamers, Y’all Are Safe… For Now

The Xbox Chief also reassured the millions of gamers on other platformers.

“For the millions of fans who love Activision, Blizzard, and King games, we want you to know that today is a good day to play,” he said. “You are the heart and soul of these franchises, and we are honored to have you as part of our community. Whether you play on Xbox, PlayStation, Nintendo, PC or mobile, you are welcome here – and will remain welcome, even if Xbox isn’t where you play your favorite franchise. Because when everyone plays, we all win. We believe our news today will unlock a world of possibilities for more ways to play. Thank you for the ongoing support. We have so much more to come in the months ahead – I’m excited for the future and cannot wait to share it with you.”

With the deal finally closing, that doesn’t mean Call of Duty and Diablo are going to Game Pass immediately. Activision Blizzard made it clear that Modern Warfare 3 and Diablo IV would not be on the gaming streaming service.

Call of Duty Is Coming To Ubisoft+

But thanks to a deal with Ubisoft granting the publisher cloud streaming rights, which helped Xbox secure the deal, Ubisoft announced Call of Duty and other Activision Blizzard games will be coming to Ubisoft+.

“In August, Ubisoft announced an agreement with Microsoft granting the publisher the perpetual cloud streaming rights for Call of Duty and all other current Activision Blizzard games and those released over the next 15 years once Microsoft’s acquisition of Activision Blizzard is complete,” the blog post begins. 

Sayonara Bobby Kotich

Also, with the news of the deal closing, current problematic Activision Blizzard CEO Bobby Kotick is on his way out. In an email to his employees, he announced he is staying until the end of 2023 to help with the transition period.

“I have long said that I am fully committed to helping with the transition,” says Kotick in the email to Activision Blizzard employees. “Phil has asked me to stay on as CEO of ABK, reporting to him, and we have agreed that I will do that through the end of 2023. We both look forward to working together on a smooth integration for our teams and players.”

Congrats to Team Xbox and Activision Blizzard.

—

Photo: Microsoft / Xbox / Activision Blizzard

13 Oct 2023

‘Deadpool 3’ Director Compares Taylor Swift’s Camera Skills to Steven Spielberg’s: ‘Generational Voice and Creative Force’

Deadpool 3 director Shawn Levy has seen Taylor Swift‘s directing skills up close and he thinks the singer has the makings of a movie mogul. Swift, who has directed (or co-directed) the videos for her songs including “The Man,” “Me!” and the 10-minute mini-movie for the “All Too Well” has already said that she has a feature film in mind for her next trick, and Levy is here for it.

“Taylor has not consulted me about upcoming directing projects, but I think she has the makings of a hell of a director,” Levy told EW when the mag asked if Swift had asked him for tips about directing a feature after he co-starred as her dad in the “All Too Well” short film. While Levy could not talk about what it was like acting in the Swift-helmed short because of the ongoing Hollywood actor’s strike, he said the singer has an impressive vision behind the lens.

“That list is short. Taylor, the depth of her vision for how she wants a creative piece to be, whether it’s a lyric, a melody, a bridge, a concert tour, a video, it’s profound,” he said in compiling a two-womean roster of artists whose cultural impact is off the charts; the only other name on his list, by the way, is Beyoncé.

“It’s profoundly vivid, and she has the strength of her convictions,” Levy added in dubbing Swift a “generational voice and creative force,” before tying that vision to a philosophy espoused by three-time Oscar-winner Steven Spielberg.

“Spielberg was on the set of a movie he produced that I directed, called Real Steel, and I said to him, ‘How do you know it’s the right shot?’ His answer was, ‘The way you see it, that makes it right,’” Levy explained. “I feel like that’s something Taylor Swift has figured out really well, because that’s about trusting your instinct.”

Swift has won two MTV VMAs for best director, one for the “All Too Well” short film and the other for “The Man” video and in December Searchlight Pictures announced that Taylor is gearing up to direct her first feature-length film based on her original screenplay.

Before she steps behind the camera, Swift is likely to smash box office records this weekend following Thursday night’s opening of her Eras Tour concert movie, which experts predicted could easily soar above $100 million in grosses in its opening frame, instantly making it the highest-grossing music film of all time.

13 Oct 2023

As ‘Billions’ Wraps, a Look at the Wealth of Music References and Synchs on the Hit Show

Few TV series show off their creators’ favorite songs and artists as explicitly as Billions, which outfits its characters in Metallica and Slayer T-shirts, makes a point of airing a Bob Dylan song every season, lovingly quotes Bruce Springsteen lyrics and integrates rapper Killer Mike into elaborate storylines. Writer and co-creator Brian Koppelman has a history in the record business, having worked A&R for Elektra in the late ’80s, then as a senior vp for EMI in the ’90s; he and longtime friend and co-creator David Levien unashamedly plug their influences into the show, through synchs, character development and dialogue.

As the show winds down — the 10th episode of the seventh and final season airs Sunday on Showtime — the showrunners discuss their musical choices, and clearing the rights for them, in a call from their New York-area homes.

Brian, I’ve spoken with your father, the late record executive Charles Koppelman, a couple of times, including once about how rich the business had become during the CD boom in the ’80s and ’90s. What do you recall about working at labels at that time?

Koppelman: My father’s love of music was something that, despite his success and his business-side accomplishments, he would always default to. The thing that mattered to him was the music and I grew up listening to music through that prism. Even when I went off on my own and started finding my own enthusiasm, I would never forget the way he would look and sway to music when he was listening to it. When I was an A&R executive, my attention was with the artists and the songwriters and the people making the records. That’s what engaged me, so I can’t even speak to what the economics were like.

In episode 10 of this season, two characters quote Bruce Springsteen’s “Atlantic City” and debate the song’s meaning. How much of that sort of thing in Billions is based on real conversations about music?

Koppelman: David and I have been best friends since we were 14 or 15. We’ve probably been on every side of the conversations [about] these artists that are referenced in the show. If you’re a serious music fan, you’re not just listening to it, you’re thinking about it and talking about it and arguing about it.

Levien: Early on, we got a few notes to the effect of, “Why are there so many pop-culture references? I don’t think people really talk that way.” We were saddened by that, because we do think people talk that way.

Koppelman: One of the absolute highlights for us, in an earlier season, is a moment where a character sings a line from “Atlantic City,” in an episode called “Chicken Town.” We needed to get Bruce Springsteen’s permission. We heard he was on vacation somewhere and read the scene outside and personally approved it. For us guys who know “Nebraska” by heart and spent countless hours at his concerts, that just meant the world to us.

How challenging is it to get the rights for well-known songs, like Billy Joel’s “I Love These Days”?

Koppelman: [Music supervisor] Jim Black is the person who goes out and gets the clearances. The fact that Dave and I have a deep well of relationships in the business has been helpful a few times along the way, if there happens to be something that is tricky. We had many conversations with some folks in Billy Joel’s camp. That process has been incredibly smooth for us the entire run. Early on, we couldn’t get a Zeppelin song, but then, the next season, we did. Their process was so particular. You have to show everything.

In episode 3, you use KISS’ “A World Without Heroes” — not the best-known KISS song. What made you choose it, and what was the band’s reaction?

Koppelman: That song has always meant a lot to me. It’s co-written by Lou Reed, and his songs, both with the Velvet Underground and as a solo artist, have been in the show in meaningful ways. “A World Without Heroes,” off their [1981] album Music From “The Elder” — often that album is looked at as this moment in KISS’ career where they took a risk that backfired. But there are a couple of real gems on that record.

Levien: We don’t know exactly what their response was outside of the approval. We didn’t get any personal anecdotes that it meant anything to anybody.

Koppelman: Because we were on strike, we couldn’t promote the show, and it was important to us to keep fealty with our guild. [The Hollywood writers’ strike ended earlier this month after 148 days.] Normally, when that episode hit, [we] would have been on social media talking about the song and interacting with KISS people. But we couldn’t respond. If they would tweet at us or write on Instagram, we had to let it go. If it weren’t for the strike, I would have engaged with [KISS members] Paul [Stanley] and Gene [Simmons] in some public forum encouraging KISS to talk about the song. But that wasn’t able to happen.

“Blind Willie McTell,” used in episode 8, when several main characters are at a shady, ritualistic meeting of political donors, is my favorite Bob Dylan song. Because it’s not as well known, does that make it less expensive, or easier to clear the rights?

Levien: We had a Dylan song in a big spot in every season — “Visions of Johanna,” and “Like a Rolling Stone” ending a season. With this one, even though it’s on a bootleg album, we’ve listened to it for years. The dark tone that gets at the heart of the corruption of the United States is so palpable on that song, even though he’s talking about a different era. It just seems so apt today. With the backdrop of all those privileged elite people playing those games with everybody’s lives, it just felt like the right choice.

Koppelman: [Dylan’s manager] Jeff Rosen, who obviously was involved in executing that sale of the rights, loves the show and expressed to us early on that he liked the way we used the songs and that we should not hesitate to ask whenever we wanted to. Even when they sold the catalog, it was clear to us that everyone understood the way we were using these Bob Dylan songs was something that worked for everybody.

Levien: There were a few times we wrote personal notes to the artists about what the song meant to us. Jim would come to us and say, “This one might be a little more challenging” and “share your personal connection.”

Example?

Koppelman: We wrote to Neil Young and explained why “Old Man” was a perfect song for the moment [in Season 5] and what the point of the scene was and immediately got a yes.

After the Billy Joel ballad dominates episode 9, in Episode 10, you start with the Jam and end on Slayer. Why “Reign In Blood”?

Koppelman: Every single season, Axe [Bobby Axelrod, the central billionaire] has worn a heavy-metal T-shirt and that band’s song has played. In Season 1, it was Metallica, in season 2, it was Megadeth. The way the song is used in this episode just felt right to us. Sometimes it isn’t really an intellectual process, it’s about a feeling.

We’re almost out of time. What’s different about working in the music business vs. the movie business?

Koppelman: Well, I’m 57. I was 29 back then. I did leave that business at 29. I don’t feel like an answer I give you in 30 seconds is going to speak to that.

Let’s end on a different note: How would you say the musical tone of this final season is unique?

Koppelman: You’re trying to distill it to its essence — who these characters are, strip stuff away.

Levien: And you’re running out of spots, and you want to use spots with maximum impact like [the Clash’s] “London Calling” [which closed the season 7 premiere], or a lesser-known one like [Jackson C. Frank’s] “Blues Run the Game” that we were carrying around forever. Spots were finally showing themselves where we could use these songs.

13 Oct 2023

Queen + Adam Lambert Deliver a Rhapsodic Show at Madison Square Garden: 5 Best Moments

The iconic rock group brought high production value, incredible performances and a pristine setlist to their NYC return concert.

Queen + Adam Lambert

Queen + Adam Lambert

Bojan Hohnjec

When a parade of CGI-made, red-eyed robots began marching across the scrim at Madison Square Garden on Thursday (Oct. 12) night, the 20,000 people huddled in attendance let out a rapturous cheer. The far-off voice of late rock icon Freddie Mercury echoed through the cavernous venue, singing the first chorus of “Machines (Or Back to Humans)” as the screen slowly lifted, revealing the three men eager to carry on the legacy of his band that evening.

That is just what Queen + Adam Lambert did during their 2-hour performance at Madison Square Garden on Thursday evening. Hardly stopping throughout the madcap evening for so much as a water break, Lambert, Sir Brian May and Roger Taylor gave fans of the iconic rock group an evening to remember, playing through some of their greatest hits as well as a few beloved B-sides.

With Lambert taking the helm as the touring group’s new frontman all the way back in 2012, it’s been officially been over a decade of the trio performing together, a fact that he relished about halfway through the evening. “Can you guys believe that I have gotten to tour with these legends for the last 10 years?” Lambert said to a cheering audience. “It is such a privilege to be singing this music.”

There was a lot to take in throughout the event — between emotional tributes, flashy pyrotechnics and some ridiculously good performances, Queen + Adam Lambert left everything they had on the stage. Below, Billboard takes a look back at 5 of the best moments from Thursday night’s show of the band’s Rhapsody Tour:

13 Oct 2023

Taylor Swift Wraps Brittany Mahomes in a Big Hug While Cheering on Travis Kelce at Chiefs Game

Brittany Mahomes is living every Swiftie’s dream. At the Kansas City Chiefs game against the Denver Broncos Thursday (Oct. 12), Taylor Swift was spotted wrapping the 28-year-old former soccer player in a big hug as the two cheered on their Chiefs boys: Brittany’s husband, quarterback Patrick Mahomes, and Swift’s rumored boyfriend, tight end Travis Kelce.

The sweet moment came midway through the game’s second quarter, when Kelce caught a perfect pass thrown by Mahomes that set Kansas City up for a first down just a few yards away from the end zone. Seconds after the play was completed, NFL cameras panned up to Swift’s private box suite in Arrowhead Stadium, capturing the pop star as she excitedly embraced Brittany, who banged on the glass supportively.

Thursday’s game marks the third time the pop superstar has shown up to a Chiefs game, having previously earned fanfare for her appearances at the Chiefs-Bears and Jets-Chiefs games this season. And, as NFL broadcasters pointed out at the Broncos face-off, Kansas City hasn’t lost any of the games the “Anti-Hero” singer has been to. (That might not be saying much, though, given that the reigning Super Bowl champions have only lost one game of six so far.)

The pop star and Brittany have been spotted sharing suites at Chiefs games in the recent past, and the two reportedly went out to dinner in New York City along with Blake Lively and Sophie Turner a couple weeks ago. Their budding friendship comes amid rumors that the 12-time Grammy winner is dating Kelce, who’s been open in the past about his crush on Swift.

The Chiefs-Broncos game (which Kansas City won 19-8) came less than 24 hours after the world premiere of Swift’s Eras Tour concert film in Los Angeles. The musician hit the red carpet solo, posed for pictures and greeted fans, joined at the event by stars such as Beyoncé, Maren Morris, Simu Liu, Mariska Hargitay and more.

Watch Taylor Swift and Brittany Mahomes cheer on the Chiefs below.

13 Oct 2023

Friday Music Guide: New Music From Bad Bunny, Offset, Ice Spice & Rema and More

Billboard’s Friday Music Guide serves as a handy guide to this Friday’s most essential releases — the key music that everyone will be talking about today, and that will be dominating playlists this weekend and beyond. 

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See latest videos, charts and news

See latest videos, charts and news

This week, Bad Bunny returns sooner than expected, Offset corrals his famous friends and Ice Spice links up with Rema for a new hit. Check out all of this week’s picks below:

Bad Bunny, Nadie Sabe Lo Que Va a Pasar Mañana 

Thought you had to wait until 2024 for Bad Bunny’s next opus, which would follow last year’s enormous Un Verano Sin Ti? A lot of us did — there’s a reason why his new semi-surprise project is titled Nadie Sabe Lo Que Va a Pasar Mañana (“Nobody Knows What Will Happen Tomorrow”), considering how widespread the belief was that the Puerto Rican superstar would sit patiently until the calendar flipped. Instead, Bad Bunny has gifted another 80 minutes of dynamic solo material: zero guests are credited on Nadie Sabe Lo Que Va a Pasar Mañana, and while some are sprinkled throughout, there’s clearly been a conscious decision to delineate between the summer-ready opulence of Un Verano Sin Ti and his captivating next phase. Bad Bunny’s latest requires due diligence before a snap judgment, but needless to say, it’s good to have him back sooner than anticipated.

Offset, Set It Off 

The cover of new Offset solo album finds the rap star falling away from the world as it explodes away from him, the sky and ground inverted; after Quavo’s somber Rocket Power, which reflected on Takeoff’s untimely death throughout its track list, Offset’s new artwork could be construed as a reaction to his fellow Migos member’s passing. While Set It Off does contemplate grief and unspoken words (see the late highlight “Upside Down”), Offset’s latest also revels in blockbuster-rap elegance — especially in its first half, which includes guest spots from Travis Scott, Don Toliver and Offset’s wife, Cardi B.

Ice Spice feat. Rema, “Pretty Girl” 

During her meteoric rise, Ice Spice has never compromised her style or relaxed her flow to fit in with mainstream expectations — but on crackling new single “Pretty Girl,” featuring Nigerian superstar Rema, the rapper showcases her ability to translate her effortless rhyming into a traditional pop structure, and scores one of the most likable singles of her career. “Pretty Girl” benefits from an Afrobeats-adjacent thump and the melodic charisma that Rema flaunted on “Calm Down,” but Ice Spice dominates the track, each of her bars a dart that hits its mark.

Troye Sivan, Something to Give Each Other 

Troye Sivan has always possessed a distinct pop voice — both literally, with his warm, richly developed tone, and figuratively, as a former YouTuber making fundamentally sound and unabashedly queer pop music. Yet “Rush,” the thrilling lead single to third album Something to Give Each Other, hinted that his song construction had leveled up, and the full-length has confirmed as much: not every song on his new project carries the tempo of “Rush,” but from the robo-fantasia of “One of Your Girls” to the clap-along lullaby of “Can’t Go Back, Baby,” Something to Give Each Other gives Sivan the sonic depth required to help his voice fully soar.

Boygenius, The Rest 

Prior to a breakout 2023 in which they released their debut full-length and headlined arenas, Lucy Dacus, Phoebe Bridgers and Julien Baker conjured magic with a six-song EP in 2018, unveiling Boygenius as a collaborative project and slowly winning over thousands of listeners. The Rest, a new four-song EP, arrives in very different circumstances for the group yet feels just as intimate, a short, moving songwriting showcase defined by sparse arrangements and overlapping voices; the closer “Power,” in particular, feels like a summation for this phase of Boygenius, with Baker singing about “a crooked little trajectory” before being joined by her best friends.

Editor’s Pick: Fred again.. feat. Jozzy, “Ten” 

As he caps off a string of shows in New York and Los Angeles, effectively putting an exclamation point on a professional period during which he ascended to dance’s A-list, Fred again.. has also unveiled one of the more satisfying grooves of his career: “Ten,” a new single with Jozzy, plays with space and vocal pitches, but that percussive hook is as wonderfully woozy as Fred hoped it would be, and Jozzy makes his presence felt in a short amount of time. “Ten” begs to be presented to and bopped with a crowd of thousands — lucky for those with Fred again.. tickets this month.