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“Back in the day,” Chubby Checker tells Billboard from his home in New Jersey, “I said, ‘I don’t want to be in the Rock Hall when I’m dead. I want to smell my flowers when I’m here.’ And I’m smelling my flowers…a little late in the game, I would admit, but I’m still alive to see Chubby Checker in the Rock & Roll Hall of Fame.”
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Eligible since the first Rock Hall class in 1986, the 83-year-old responsible for “The Twist” and other dance sensations will finally arrive in the shrine during the Nov. 8 induction ceremony in Los Angeles — on his first nomination, no less. That’s come as a surprise, even shock, to many fans since the news broke about Checker’s induction, but the South Carolina native (born Ernest Evans) says it’s not something he’s been fretting about over the years.
“It’s another milestone — and the beat goes on,” he notes.
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Nevertheless, Checker famously protested outside of the Rock Hall museum in Cleveland back in 2002, but he clarifies that it wasn’t simply about his exclusion from the ranks. “I wanted people to know that Chubby’s music was not being played, that’s all it was,” he explains. “The protest was, ‘Please play Chubby’s music.’ The best thing for any artist is to get his music played, and my music wasn’t getting played and I was a little upset about it. You can walk into the supermarket and hear (sings) ‘Bennie and the Jets’…but not ‘The Twist,’ and you look around the supermarket and every company’s got some kind of twist product, you know? I did it very nicely. I didn’t try to cause any problems. I never protested anything in my life except that.”
Checker will, of course, enter the Rock Hall with ample credentials as a groundbreaker and architect. Inspired to pursue music after seeing country great Ernest Tubb perform at a South Carolina fair when he was four years old, Checker and his family moved to South Philadelphia and he began singing doo-wop as a youth. Nicknamed Chubby by a boss at the produce market where he worked, he auditioned as a teen for American Bandstand host Dick Clark, whose wife Barbara added Checker as a surname as a salute to Fats Domino.
Checker imitated Domino, Elvis Presley and other poplar singers at the time for a 1959 single called “The Class,” after which Clark suggested he take on “The Twist,” which was written by Hank Ballard — based on dances he saw teenagers doing in Tampa, Fla. It was only a modest success for him and his band, the Midnighters. Adding dance moves to his performance, Checker took the song to No. 1 on the Billboard Hot 100 during September 1960 and then for a second time in January 1962 — the only single to do that until Mariah Carey’s “All I Want For Christmas Is You” decades down the road.
“‘The Twist’ gave us what we have on the dance floor — and is still giving us that,” says Checker, who despite his Philadelphia roots was a supporter of the Rock Hall being built in Cleveland, in deference to pioneering radio DJ Alan Freed. “Before (‘The Twist’), Elvis and Little Richard and Bill Haley and Fats Domino and Jerry Lee Lewis and Buddy Holly, they were doing the swing to their songs. Then Chubby Checker comes along and…the whole world changed.” Checker followed “The Twist” with other dance songs, including “Pony Time,” “The Fly,” “Limbo Rock,” “Let’s Twist Again” and a resurrection of the late ‘40s dance “The Hucklebuck.”
“Chubby Checker never left the dance floor,” he says. “I used to call myself the wheel that rock rolls on, because anyone after Chubby Checker who had a song that you could dance to, they were in my world, that I brought to the dance floor. Dancing to the beat is what we brought, and it’s still there — no matter what it is. It’s called the boogie, and the boogie is still going on. Someone once said, ‘Chubby, you want to do a disco song?’ ‘Why? I did that already.’”
In all, Checker has had 32 songs (and seven top 10 hits) on the Billboard Hot 100. In 2008 Billboard honored “The Twist” as No. 1 on the Greatest of All Time Hot 100 Songs list, which it held until the Weeknd’s “Blinding Lights” took the honor in 2021. Nevertheless, Checker notes, “it will always be the No. 1 song. There will be a number two No. 1 song, a number three No. 1 song, but (‘The Twist’) was the first and will always be the first.”
“The Twist” has also been inducted into the Grammy Hall of Fame and the Library of Congress’ National Recording Registry. The Rock Hall honored “The Twist” in 2018 by inducting the single as part of a new initiative — a practice that has not been repeated since.
Checker has no intention of recording anything new — “How am I gonna invent the wheel twice?” he asks — but still performs regularly. And that continuing demand, he says, has mitigated any disappointment he may have felt while waiting for his Rock Hall induction.
“Listen, I’m a blessed human being,” Checker says. “In spite of everything, my dreams come true every day. Every time I go on stage my dream comes true, my dream is renewed — that’s what keeps me going. I’m a blessed man in this world.”
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Source: Rockstar Games / GTA 6
Welp, many predicted this day was coming. GTA 6 was once poised to be the biggest video game release of 2025, but will now be the biggest release of 2026.
Rockstar Games confirmed many analysts’ and gaming journalists’ predictions when it officially announced today that it would be delaying GTA 6 by six months.
The video game studio confirmed the news in a statement shared on its social media profiles, telling disappointed fans that the game needs more time to cook and will not arrive on May 26, 2026.
“We are very sorry that this is later than you expected,” Rockstar announced on X, formerly Twitter. “The interest and excitement surrounding a new Grand Theft Auto has been truly humbling for our entire team. We want to thank you for your support and your patience as we work to finish the game.”
Games of this magnitude needing more time isn’t unusual, but with GTA 6 being YEARS in development, it’s not crazy for some eyebrows to raise and people to overreact. Take-Two Interactive, Rockstar Games parent company, saw its shares take a hit with the announcement of the delay, losing over nine percent in the market.
“With every game we have released,” the statement continues, “the goal has always been to try and exceed your expectations, and Grand Theft Auto VI is no exception. We hope you understand that we need this extra time to deliver at the level of quality you expect and deserve.”
Bummer.
Take-Two Still Has Some Heat On The Horizon
While this news stings, Take-Two still has some big realeses to look forward to this year like Mafia: The Old Country and Borderlands 4 which just recently pushed up its release date due, and, of course, NBA 2K26.
But, we can’t front, GTA 6 was high on everyone’s list and now that we have to wait even longer to experience what could be the greatest game ever made not named GTA V, stinks.
Oh well, if these means we will only be getting a more perfect game, then Rockstar take as much time as you need to deliver us the game we have all come to expect from you.
You can see more reactions to the news in the gallery below.
1. Parris knew
2. Pretty much all of our reactions
4. Tears, also why does this account exist?
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Roc Marciano burst onto the scene with his debut album, Marcberg, in 2010 and has blazed several trails since the release of what many consider to be a modern classic. Roc Marciano fans can now rejoice as Marcberg is available for the first time on streaming services in honor of the project’s 15th anniversary.
Hailing from Hempstead, Long Island, N.Y., Roc Marciano made his first splash as a member of Busta Rhymes’ sprawling Flipmode Squad before breaking away from the collective to form The U.N. He embarked on a solo career, delivering Marcberg on May 4, 2010. The sound of the album was a shift in sound as dusty, sample-heavy Hip-Hop was pushed to the side as something only so-called “backpackers” were into.
What Marciano did, however, was take New York City slick talk and place it atop soulful production that highlighted the relentless and highly visual lyrical ability of the producer and rapper. Handling all the production on Marcberg, Marciano, alongside other innovators like Hus Kingpin and Westside Gunn, helped usher in the current wave of sparsely produced tracks that emphasized the lyrics instead of the drums.
The album only has one feature, with the late, great Sean Price appearing on the remix for “Snow,” who sounded at home over Marciano’s powerful production. Roc Marciano is still delivering music at a high clip, dropping the stellar Marciology and The Skeleton Key, the latter of which features The Alchemist handling all production.
On X, fans are celebrating 15 years of Marcberg. Check out the reactions below.
Find Marcberg at your preferred DSP here.
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R.E.M. have released a five-track benefit EP featuring three remixes of their landmark 1981 debut single, “Radio Free Europe,” ahead of Saturday’s (May 3) World Press Freedom Day. The collection also features the song’s original b-side, “Sitting Still” and instrumental “Wh. Tornado,” a cassette-only song that is being issued on digital and vinyl for the first time. The Radio Free Europe 2025 EP is a commemoration of the 75th anniversary of the Radio Free Europe/Radio Liberty services (RFE/RL), the broadcasting groups that have delivered uncensored news, analysis and cultural programming in a variety of languages in places lacking a free press since 1949.
The special package includes a never-before-released 2025 remix of “Radio Free Europe” by the band’s longtime collaborator, producer Jacknife Lee, as well as a 1981 remix of the song by the band’s original producer, Mitch Easter. RFE/RL currently broadcast in 27 languages to 23 countries to an audience of nearly 50 million people in places where a free press is either illegal or under threat, often serving as the only line to the outside word for people living under onerous government censorship.
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“Whether it’s music or a free press – censorship anywhere is a threat to the truth everywhere. On World Press Freedom Day, I’m sending a shout-out to the brave journalists at Radio Free Europe,” said singer Michael Stipe in a statement. The band’s effort comes one day after a federal appeals court in Washington ruled that, for now, the Trump administration can continue to withhold money from the RFE/RL — as well as Radio Free Asia and Middle East Broadcasting Networks — temporarily reversing two earlier lower-court rulings that stopped the White House from cutting off funds from the outlets as part of its wide-ranging DOGE cost-cutting measures.
DOGE boss and Tesla/Space X CEO Elon Musk has been unequivocal in his disdain for the services, writing in February on X, “shut them down… Europe is free now… nobody listens to them anymore… it’s just radical left crazy people talking to themselves.”
“Radio Free Europe’s journalists have been pissing off dictators for 75 years. You know you’re doing your job when you make the right enemies. Happy World Press Freedom Day to the ‘OG’ Radio Free Europe,” added bassist Mike Mills in a statement. While the band’s members did not directly reference the Trump administration’s efforts to defund the organizations, RFE/RL president and CEO Stephen Capus was more direct in his praise for the song and the group’s efforts to help shine a light on the services’ vital work.
“To me, R.E.M.’s music has always embodied a celebration of freedom: freedom of expression, lyrics that make us think, and melodies that inspire action,” said Capus. “Those are the very aims of our journalists at Radio Free Europe — to inform, inspire, and uphold freedoms often elusive to our audiences. We hold dictators accountable. They go to great lengths to silence us — blocking our websites, jamming our signals, and even imprisoning our colleagues.”
In an interview with CBS Mornings on Friday, Stipe said the band decided to honor the services because “we love journalism, we love freedom of speech… and we love the world.”
Stipe told CBS that when he got the call from the imperiled service asking for some help he said there was no hesitation at all. “It’s important to democracy and a fight against authoritarianism that they remain.” All of the proceeds from vinyl sales of the new remix will go to Radio Free Europe, which is still waiting for its frozen April and May funding as it soldiers on with is rapidly dwindling reserves.
The new EP is being released through Craft Recordings and was overseen by Easter, who first recorded the band at his Drive-In Studio during their first-ever road trip to a professional studio in April 1981; that original session produced “Radio Free Europe,” “Sitting Still” and the instrumental “Wh. Tornado.” In 2009, “Radio Free Europe” was inducted into the Library of Congress’s National Recording Registry.
Fans can stream and download the EP today and pre-order a limited-edition 10-inch orange vinyl pressing due to ship on Sept. 12 here. You can also click here to make a tax-deductible donation to RFE/RL here.
Listen to the jaunty Jacknife Lee remix and the full EP below.
Everybody’s had the blues.
Merle Haggard‘s observation was true in the 1970s, and it still resonates in 2025 in country music as the genre welcomes a new wave of blues-tinged artists.
Valory released Preston Cooper‘s first radio single — “Weak,” bolstered by Stevie Ray Vaughan guitar tones and Hammond B-3 — to broadcasters via PlayMPE on April 23. RECORDS Nashville took Texas singer-songwriter Ty Myers to radio on April 10 with “Ends of the Earth,” a spacious, almost churchy ballad. And Big Loud’s Alabama-born Kashus Culpepper has steadily rolled out tracks over the last year with videos that feel akin to the Mississippi Delta circa 1945. Culpepper’s catalog invites comparisons to Keb’ Mo’ and Leon Bridges, and his latest track — “Southern Man,” released March 27 — features sweaty slide guitar from bluesy Americana figure Marcus King.
“I think the blues is the root to every genre out there,” Ohio-bred Cooper says. “You always have to have a rhythm, you know. You always have to have a beat. And I think blues starts that for all genres.”
The rise of the blues makes sense in a genre like country that appeals primarily to a working-class audience. The nation has experienced years of division, and economic uncertainties are turning the screws even tighter on the average pocketbook. Consumers are already singing the blues.
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“Blues connects with the human emotion,” Culpepper reasons. “It’s our deepest emotions, it’s pain and sometimes love. And I think blues is always going to be around. I think it’s always going to recirculate and come back around.”
The blues grew directly from pain. Black workers in the mid-1800s — both slaves and free men — were primarily limited to difficult jobs with no possibility of upward mobility, and they used music to keep a consistent pace at their labor and express their misery. W.C. Handy, crafting such titles as “The St. Louis Blues” and “The John Henry Blues,” established the genre’s commercial potential in the early 1900s, and Mamie Smith‘s 1920 recording “Crazy Blues” became the first blues recorded by a Black woman. New York record executives assumed that only African Americans would appreciate the music and established a “race” records market. When country was subsequently committed to disc, it was frequently referred to as “the white man’s blues.”
While the labels segregated the music in their promotional efforts, the sound itself wasn’t that different. The songs recorded by the father of country music, Jimmie Rodgers, in the 1920s and 1930s overlapped in sound with the music of Robert Johnson in the 1930s.
“I love Robert Johnson and Hank Williams,” Culpepper says. “I think at the core, both of them [were about] great storytelling, raw emotion, the real man’s music talking about real emotions. You could have a song talking about the bar, and that’s great. They both had songs [about] being with a lover, or just hanging out, or going down a road and feeling great, or a song about just feeling so down low that you don’t even want to be on this Earth.”
Country’s blues influence was particularly evident in Western swing, and it continued to pop up in the music of Willie Nelson (especially in his song “Night Life”); in Southern rock, which would influence such country acts as Travis Tritt, Hank Williams Jr., Confederate Railroad and The Cadillac Three; and in the Texas soul of Lee Roy Parnell.
Much has been made of Chris Stapleton‘s incorporation of outlaw country and R&B over the last decade, but the new acts all say the blues component of his music had an impact on them.
“A lot of people who are going down the path that I am — you know, country, but also adding a little bit of the old blues and soul influences — would not be able to do what we do without Stapleton,” Myers says. “That artistic flair that he added to country music expanded the lines a little bit, made the box a little bigger.”
Indeed, The Red Clay Strays — which are nominated for two honors at this year’s Academy of Country Music Awards — incorporate a blues thread in their rootsy country sound, and Stephen Wilson Jr.‘s performance of the national anthem before the NFL draft on April 24 in Green Bay, Wis., was a rough-cut, gnarly, acoustic country-blues.
While the sound reflects the current sociopolitical mood, it’s also a reaction to the increasing influence of technology on 21st-century life. Many Americans spend more than half their waking hours tied to an iPhone, a computer and/or a TV. With those impersonal devices commanding people’s attention, it’s natural for consumers to gravitate toward music that more closely reflects humanity and all its imperfections.
“Kids my age, we’re starting to like vintage stuff,” Myers, 17, says. “Old cars, old shoes, old clothes, old fashion — even old lingo is coming back. And especially old music. I think we’ve realized that they did shit better in the ’60s and ’70s. That’s why not only is blues and soul coming back, but also old country. Look at Zach Top. I mean, that’s old, straightforward country, and it makes my heart happy that it’s coming back.”
One of the reasons the blues seem to hang around is that the hard times they address are always present, and the listener is reminded that their heartbreak and heaviness are not unique. Knowing someone else shares their pain frequently helps revive their spirit.
“Blues is a tonic for whatever ails you,” B.B. King once said. “I could play the blues and then not be blue anymore.”
That’s why Culpepper came to appreciate the blues. He heard King, as well as Jimi Hendrix and Albert King, in his household, right alongside Kenny Rogers and Bob Seger. He hopes that, as stylistic walls drop and once-segregated music recombines, his generation of blues-based country artists will provide an emotional tonic for music fans the way that his predecessors influenced him.
“I got an old soul,” Culpepper says, “and I hope that my music is an inspiration for young, upcoming musicians to continue to put that blues and that old rock stuff in new music. That’s my whole [thing]: to be an inspiration.”
Dolly Parton got choked up while talking about her late husband, Carl Dean, during an on-camera interview two months after the businessman’s death.
While speaking about the 40th anniversary of her Dollywood theme park on TODAY Friday (May 2), the country superstar became visibly teary-eyed as soon as host Savannah Guthrie asked how Parton has been doing since Dean died at age 82 on March 3. “Oh, you know what, I get very emotional when people bring it up,” she began.
“But we were together 60 years,” Parton continued. “I’ve loved him since I was 18 years old. It’s a big adjustment, just trying to change patterns and habits. I’ll do fine, and I’m very involved in my work, and that’s been the best thing that could happen to me. But I’ll always miss him, of course, and always love him.”
She added, “He was a great partner to me.”
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As Parton mentioned, she and Dean had been a couple since she was 18 — in fact, they first met the same day the “9 to 5” singer moved to Nashville to pursue a career in music. They got married in Georgia in 1966.
At the time of Dean’s death, Parton released a simple statement asking for privacy, writing, “Words can’t do justice to the love we shared for over 60 years.”
Three days later, she thanked family, friends and fans for sharing their messages of condolences, and wrote on Instagram, “He is in God’s arms now, and I am okay with that. I will always love you.”
Dean was famously private, preferring to stay far out of reach of his wife’s spotlight. But while he was rarely spotted by the public, Parton once again mentioned how she’s received “so many cards, letters, flowers, from all over the world” in light of his passing on TODAY.
“I had no idea Carl Dean was so famous,” she said with a laugh.
Watch Parton’s full interview above.
Dove Cameron is back with “French Girls,” an espresso shot of electro-pop that finds her continuing to explore moody, campy dance-pop that won’t quit.
“There’s a huge intersection between pain, heartbreak, joy and camp and levity. And that’s where we found ourselves in ‘French Girls,’” Cameron tells Billboard. “The melodrama of being a muse for a sculptor or a painter. There’s something so painfully romantic and also constricting about that. In ‘French Girls,’ the thing that I was really obsessed with was this self-sacrificing mania about being a muse that is not healthy.”
Aside from the song being inspired by her love for Paris and Parisian museums, she confirms that the chorus is a reference to Titanic, specifically the scene where Rose asks Jack to sketch her. And yes, she knows she’s technically misquoting the movie. “The public remembers it differently than what it was: in the movie, it’s ‘draw me like one of your French girls.’ But ‘draw me’ just didn’t sing as well as ‘paint me’.” Given that a lot of people “collectively remember it” as “paint me like one of your French girls” anyway, she took the creative license to tweak the line for her song.
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“I’m definitely not talking entirely about myself,” she explains of the song. “I’m talking about all of the women in the industry that are considered these great, larger-than-life personalities, these Helen of Troy people that we remember in history as these icons of beauty and art who can also be the most tragic figures. In ‘French Girls,’ it was just that (question of), ‘How far do we go to sacrifice ourselves for our art and for our love of what we do and for the people who love what we do?’ Are we interconnected? What is this amalgamation of things that we’re creating together as the audience and the person on the stage?”
Speaking of the stage, it was just announced that Dove Cameron will serve as the opening act on several dates of Dua Lipa’s Radical Optimism Tour in the U.K. and Ireland. You can find those dates below.
June 20, 2025 – Wembley Stadium – London, EnglandJune 21, 2025 – Wembley Stadium – London, EnglandJune 24, 2025 – Anfield Stadium – Liverpool, UKJune 25, 2025 – Anfield Stadium – Liverpool, UKJune 27, 2025 – Aviva Stadium – Dublin, Ireland
It’s time to drop the needle on another Executive Turntable, Billboard’s weekly compendium of promotions, hirings, exits and firings — and all things in between — across the music business. There’s been a bit of staffing news this week, so let’s hop to it.
Whitaker Elledge stepped into the lead role at Nashville-based label Dualtone, following the passing in December of former president Paul Roper after a battle with cancer. Elledge will remain based in Nashville and will report to MNRK Music Group’s COO Chris Moncada. Since joining Dualtone in 2018, Elledge has held several roles in A&R and artist development, before being promoted to general manager/senior vp in 2023. Dualtone was founded in 2021 and has a current roster that includes The Lumineers, Langhorne Slim, Shovels & Rope, Gregory Alan Isakov and Kathleen Edwards. The Dualtone team also includes Daniel Higbee (vp, synch), Julie Muncy (senior vp, promotion), Joey Luscinsky (senior vp, production & design), Alyssa Austin (senior director, eCommerce + strategy), Dana Murray (director, artist development), Emily Allen (senior manager of operations and marketing), and Sidney Campbell (manager of operations & marketing). —Jessica Nicholson
Kobalt appointed music industry veteran Jason Feinberg as senior vice president and head of KOSIGN, its new platform designed to support the creator middle class. Feinberg brings a strong background in artist-focused technology and marketing, previously serving as managing partner at 138 Strategic, svp of marketing at Universal Music Group, and head of artist marketing at Pandora AMP. KOSIGN also promoted David Waite to operations lead and Jacob Paul to vp of platform growth and brand strategy. Launched earlier this year, KOSIGN enables artists, songwriters and producers to collect publishing royalties with flexibility and transparency. Built on Kobalt’s global infrastructure, KOSIGN offers global royalty collection, real-time transparency and an 80/20 royalty split in favor of writers. “I’m passionate about everything that KOSIGN stands for,” said Feinberg. “The platform empowers artists to collect their publishing revenue around the world, providing them the freedom and support they deserve.”
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Henri Lanz gave Sony the slip and joined Warner Music Nordics as the label’s new senior international A&R and creative advisor. Known artistically as MGI, Lanz previously founded M-Eazy Music and served as CEO of Sony Music Finland and Sony Music Baltics from 2019 to 2024. (Over the past year, he has worked as chief creative advisor at Sony Music Finland.) In his new role, Lanz aims to elevate Warner Music Nordics’ international repertoire by fostering artist partnerships and leveraging the company’s creative and global network. Over the years he has collaborated with 50 Cent, French Montana, Justin Bieber and Sia, and played a pivotal role in the careers of Finnish stars like Cheek and Evelina. Warner execs praised Lanz’s talent-spotting ability and global vision, highlighting his potential to strengthen Warner Music’s creative edge across Nordic and international markets. “With access to our entire Nordic and global A&R network, Henri adds a fresh creative edge and further strengthens our position,” said WMF managing director Ramona Forsström.
Downtown Music’s artist direct distribution and music services platform CD Baby named Sean Hallarman as senior vp of product, and Craig May as senior vp of artist and fan development. Both roles report to CD Baby president, Molly Neuman. Hallarman previously held roles at Sonos, Meta and Amazon Music, and in his new role will lead product vision and execution. May previously served as senior vp of global marketing services at FUGA, and in his new role will oversee artist and fan development initiatives. —J.N.
Avex Music Group promoted Justin Hunter to vice president, where he will support company operations and work closely with CEO Brandon Silverstein to guide leadership across Avex and S10. Hunter began his career in 2018 as an assistant to Endeavor exec Patrick Whitesell before joining S10 Entertainment, where he served in multiple roles, including chief of staff and head of S10 Records. Based in Los Angeles, he will help drive Avex’s U.S. strategy following the Japanese entertainment company’s expanded investment in S10 and appointment of Silverstein as CEO in March. Silverstein praised Hunter’s entrepreneurial mindset and industry relationships, calling him “the perfect candidate to help execute AMG’s strategy in the U.S. and beyond.”
Liz Gateley, a veteran TV producer who created MTV’s Laguna Beach and executive produced its spin-off The Hills, left Spotify in late 2024 to launch Damsel Media, a production company targeting Gen Z women. At Spotify since 2019, Gateley led the creation of original podcasts, including the award-winning Wind of Change. She managed the Warner Bros./DC partnership, collaborated with Kim Kardashian and initiated Spotify Pictures, adapting podcasts into visual media, including RapCaviar Presents for Hulu. Prior to joining Spotify, Gateley was a programming executive at Lifetime, overseeing Unreal and Surviving R. Kelly. Her extensive experience in streaming and network television positions her to produce content for various platforms, including brands and AVOD platforms. Based in Los Angeles, Damsel Media will focus on creating premium content for young adult female audiences, leveraging the culture-defining storytelling that Gateley is known for.
Payday Music Publishing expanded its Los Angeles-based sync team with the hires of Jamey Sussman and Desiree Autobee, both reporting to founder & CEO Patrick Moxey. Sussman, formerly with Score A Score, joins as synch director of trailers and ads, while Autobee, previously at MNRK Music Group, will serve as synch director, TV and film. Based in Santa Monica, they’ll focus on securing media placements for Payday’s roster across film, television and advertising. Sussman brings experience from projects like Babylon and season two of The White Lotus, while Autobee has contributed to major syncs for Hulu, ESPN and Netflix. Payday has also expanded its L.A. studio presence and recently landed placements with brands such as Range Rover and Nissan, as well as TV shows including Grey’s Anatomy and Abbott Elementary. Recent signings include Reo Cragun and Gaidaa, who have worked with artists like David Guetta and Marshmello.
Crypto.com Arena promoted Michael Becker to the position of vp of event services and production. In his new role, Becker will oversee Crypto.com Arena’s events team and act as a liaison between the Los Angeles Lakers, LA Kings and Los Angeles Sparks and facilitate the dozens of concerts and other special events taking place inside the iconic Downtown Los Angeles arena each year. Becker came to the arena in 2010 as a guest services supervisor, rapidly learning the ropes before transitioning to the event services department as an event manager. –Dave Brooks
A cyclist passes Crypto.com Arena on March 20, 2024 in Los Angeles.
Mario Tama/Getty Images
Reed Smith welcomed David Long-Daniels as a partner in its labor and employment group, based in the firm’s Atlanta office. Previously with Squire Patton Boggs, Long-Daniels is known for handling high-profile litigation and has represented a wide range of artists including Steven Tyler, Greg Allman and Cissy Houston. He has tried over 90 jury trials and 20 bench trials, representing clients in industries like entertainment, hospitality, and food and beverage. Long-Daniels cited Reed Smith’s strong trial reputation and global platform as key reasons for joining. His addition supports the firm’s growth in Atlanta, where the office has expanded to nearly 40 lawyers since its January opening. Cindy Schmitt Minniti, chair of the firm’s labor & employment group, marveled at how Long-Daniels is “often asked to parachute into bet-the-company litigation just weeks before a case is set for trial” and that “he joins a group of Reed Smith lawyers well-known for that same skill set.”
Symphonic Distribution expanded its presence in Asia by appointing a new team of A&R client development leads across key territories. The team includes Christine Su for Greater China and Taiwan, Eleanor Phan for Vietnam, Twinky Lagdameo for Southeast Asia and Jay Choe for South Korea and Japan. Fiona Comendador joins as client manager for the APAC region. Reporting to territory manager Guji Lorenzana, the team will work with local artists and labels, providing market-specific strategies and support. The new hires bring plenty of experience: Su has led international music projects like the Golden Melody Awards; Phan managed label partnerships at The Orchard and MMUSIC; Choe has experience in K-pop group debuts (PIXY, from20) and songwriting (for EVO and Uki Satake); and Lagdameo has over two decades in artist development, marketing and publishing at companies like MTV and EMI. Comendador, formerly with Virgin Music and Kumu, will oversee client relations and project execution across APAC. This expansion follows recent signings, including DYNA Music Entertainment and Kafka By The Sea, aiming to support artist development across Asia.
Berklee has appointed Edward J. Lewis III as its new senior vice president of institutional advancement, effective May 15. With over 20 years of experience in higher education and the performing arts, Lewis will work with senior leadership to enhance Berklee’s global fundraising and engagement strategies. Previously, he was president and CEO of the Caramoor Center for Music and the Arts, where he launched the center’s first major gifts program and led a strategic plan through the COVID-19 pandemic. “Berklee’s mission to educate and empower the next generation of artists and creative leaders deeply resonates with me, both personally and professionally,” said Lewis, who like many Berklee staffers is also a musician. “I look forward to working with this entire community to build support for Berklee.”
ALL IN THE FAMILY: The Hollywood Reporter announced the addition of Ada Guerin as creative director and Tony Maglio as television editor to its editorial team. Guerin, who previously served as creative director at Los Angeles Magazine and TheWrap, will manage the visual aspects of THR’s editorial properties, including the print mag and website, from Los Angeles. Maglio, most recently executive editor of news and business at IndieWire, will oversee THR’s television coverage from New York City.
ICYMI:
Mike Van
Apple Music named Ole Obermann and Rachel Newman as the company’s new co-heads … Penske Media executive Jenny Connelly was appointed director in charge of SXSW … Leslie Fram, former svp of music and talent for CMT, launched FEMco, a Nashville-based consulting company … and Mike Van was elevated to the role of CEO of Billboard — the first time anyone has held the role. [Keep Reading]
Last Week’s Turntable: UCLA’s Herb Alpert School Hires New Brass
Sean “Diddy” Combs is about to go on trial over accusations of sexual abuse. But what exactly are the charges he’s facing? Is Cassie Ventura testifying against him? And what in the world are “freak offs”? Before the trial starts, let’s get you up to speed.
The once-all-powerful hip-hop mogul was arrested in September, charged by federal prosecutors with running a large-scale criminal operation aimed at his own “sexual gratification.” For decades, the feds say, Diddy “abused, threatened and coerced women” into giving him what he wanted, including participating in drug-fueled sex parties.
Combs, who has denied all of the allegations, will finally head to trial next week to face a jury of his peers. Before he does, here are answers to all your Diddy trial questions.
What are the charges against Diddy?
Prosecutors have built much of the case against Diddy under the Racketeer Influenced and Corrupt Organizations Act, the “RICO” law used against mobsters and drug cartels. RICO, which allows the feds to target an entire illicit organization over many individual crimes, was designed to target organized crime, where bosses often insulate themselves from actual illegal acts.
In Diddy’s case, prosecutors say the star served as his own kind of crime boss, exploiting the “employees, resources and the influence of his multi-faceted business empire” to carry out a decades-long campaign of sexual abuse. That operation included numerous sexual and physical assaults, the feds say, but also forced labor, kidnapping, arson, bribery, witness tampering, drug crimes and more.
Separately, Diddy is also charged with violating a federal sex trafficking statute, which makes it illegal to use force, fraud, or coercion to compel someone to engage in commercial sex acts. He’s also accused of violating the Mann Act, an older statute that made it illegal to transport people across state lines for the purposes of prostitution.
What’s a “freak off”?
At the very center of the case against Diddy are allegations about so-called “freak offs” — drug-fueled orgies in which victims were allegedly coerced into having sex with male sex workers while Combs looked on.
Prosecutors say these “elaborate and produced sex performances,” which Combs “masturbated during,” were a regular occurrence and “sometimes lasted multiple days.” The rapper and his associates allegedly plied victims with illegal drugs, which prosecutors say was designed in part to “keep the victims obedient and compliant.”
According to charging documents, freak offs were “often electronically recorded,” sometimes without the knowledge of those being filmed — and the footage was then later used as a form of “collateral” to keep victims from speaking out.
The events were so complex that they required substantial logistical efforts by Diddy’s associates to pull off, the feds say — including booking hotel rooms, arranging travel, delivering large sums of cash to pay sex workers, cleaning up to “mitigate room damage,” and providing supplies. Among those supplies were “more than 1000 bottles of baby oil” — a headline-grabbing allegation when it was included in September’s initial indictment.
Who are the alleged victims?
Diddy has been hit with civil lawsuits by dozens of alleged victims, but the criminal charges against him formally center on just four people, identified in court documents as Victim-1, Victim-2, Victim-3 and Victim-4.
While technically still anonymous in filings, Victim-1 is strongly believed to be Cassie Ventura, Combs’ longtime girlfriend whose civil rape lawsuit in November 2023 helped to spark the rapper’s downfall. Prosecutors have said Victim-1 will testify in the courtroom under her real name, setting the stage for a potentially blockbuster moment at the trial.
The identities of the other three victims remain unknown, and prosecutors have sought to keep it that way. In a motion last month, they cited recent cases against R. Kelly, Ghislaine Maxwell and others in which judges allowed alleged victims to remain anonymous to avoid “harassment from the media and others” amid a case that has received an “exceptional amount of media coverage.”
At a hearing last week, the judge ruled that the three other victims could testify without revealing their names.
Who are the key players in the courtroom?
Diddy’s trial will be overseen by U.S. District Judge Arun Subramanian, a relatively new federal judge nominated by President Joe Biden in 2022 after a long stint as a litigator at a prestigious New York law firm. Subramanian, confirmed to the post in March 2023, has an understandably short track record so far — though he is also currently handling the Justice Department’s high-profile antitrust lawsuit against Live Nation and Ticketmaster.
Diddy’s lead attorney is Marc Agnifilo, a veteran defense attorney with an extensive background in handling the kind of complex, high-profile charges that Combs now faces. After prosecuting RICO cases against mobsters in New Jersey, Agnifilo worked for years under legendary New York criminal lawyer Ben Brafman, where he represented Martin Shkreli, the so-called “Pharma Bro” convicted of securities fraud in 2017, and Keith Raniere, the leader of the upstate New York sex cult NXIVM.
Combs is also represented by Teny Geragos, another Brafman alum (and daughter of celebrity attorney Mark Geragos) who joined Agnifilo when he left to start his own firm last year; and Alexandra Shapiro, a well-known appellate law specialist. Brian Steel, a veteran Atlanta defense attorney who rose to fame last year by winning Young Thug’s release from jail on gang charges, joined the team at the last minute last month.
On the prosecution side, the charges against Combs were filed last year by Damian Williams, the top federal prosecutor for Manhattan, who is known for bringing cases against cryptocurrency entrepreneur Sam Bankman-Fried, former U.S. senator Bob Menendez and New York Mayor Eric Adams. Following November’s election, President Donald Trump has since appointed Jay Clayton, a longtime partner at the law firm Sullivan & Cromwell, to fill that post.
Unlike the case against Adams — which was controversially dropped in early April — there has been no indication that Trump or Clayton plan to back away from Combs. The same attorneys under Williams (Meredith Foster, Emily A. Johnson, Christy Slavik, Madison Reddick Smyser and Mitzi Steiner) are all still on board, and the district attorney’s office has since added Maurene Comey — one of the lead prosecutors in the sex trafficking case against Ghislaine Maxwell, a top accomplice of Jeffrey Epstein.
Go read Billboard’s full story on all the lawyers involved in the Diddy litigation.
When does the trial start and how long will it take?
The proceedings will kick off on Monday (May 5) with jury selection. Jurors will be pre-screened with a questionnaire about their backgrounds and beliefs; Combs’ lawyers said in earlier filings that they want to ask their opinions of “people with multiple sexual partners.” After a broader pool is established, the two sides will spar in court over how to pick 12 jurors who can impartially decide the case.
Once a jury is selected, the trial will really get under way on May 12, first with opening statements by both sides, then with witness testimony. The trial is widely expected to last at least eight weeks, though that’s only an estimate. Back in 2021, the trial of R. Kelly — another major musical artist facing RICO charges over allegations of sexual abuse — took six weeks to complete.
How will the prosecution make its case?
If R. Kelly’s trial is any guide, prosecutors are likely to offer jurors mountains of evidence and hours of witness testimony aimed at painting a vivid picture: of an all-powerful man abusing his role at the top of an organization to coerce women into sexual activity against their will.
That will likely include not just the alleged sexual assaults, but all that happened before and after them, including threats, isolation, financial dependence and blackmail. “These are the tools of coercive control,” Nadia Shihata, one of the prosecutors in the Kelly case, told Billboard last year. “In the R. Kelly case, we called it the ‘Predator’s Playbook’.”
In court documents filed early in the case, the feds said they had interviewed more than 50 witnesses during their investigation, “many of whom saw or experienced the defendant’s abuse.” They also said they had pulled evidence from over 120 cellphones, laptops and other electronic devices.
One explosive piece of evidence that jurors will definitely see is the infamous 2016 surveillance video of him assaulting his former girlfriend Cassie Ventura in the hallway of a Los Angeles hotel. Though he initially apologized, Diddy’s lawyers have fought hard to keep it out of the trial, arguing the clip would “unfairly confuse and mislead the jury.” But prosecutors called that a “desperate” attempt to avoid “crushing” evidence, and Subramanian ruled last week that it could be played at the trial.
How will Diddy’s lawyers defend him?
Since the earliest days of the case, Diddy’s lawyers have signaled that they plan to build their narrative around the idea of consent — that the star’s sexual encounters with the alleged victims, while perhaps weird and unseemly, were ultimately still consensual.
At a bail hearing days after Combs was arrested, Agnifilo hinted at that argument, telling the judge that the star and then-girlfriend Cassie had brought sex workers into their relationship because “that was the way these two adults chose to be intimate.” And at a hearing just days ago, Agnifilo suggested that Diddy was a “swinger.”“There’s a lifestyle called swingers, call it whatever you will, that he was in, that he might have thought was appropriate,” Agnifilo said, according to Reuters. “Part of the reason people think it’s appropriate is because it’s common.”
What happens if Diddy is found guilty?
Short answer: Lots of prison.
If Combs is convicted on the racketeering charge or either of the sex trafficking charges, he’s facing a potential life prison sentence; the trafficking charges alone have a mandatory minimum of 15 years, which would leave Diddy in federal prison until he was 70 years old. The Mann Act charges carry lesser penalties, with a maximum of 10 years in prison.
Recent RICO cases against alleged sex abusers don’t offer a rosy outlook for Diddy. In the R. Kelly case, the singer was sentenced to 31 years; Raniere, the NXIVM cult leader convicted of turning vulnerable women into sexual “slaves,” was sentenced to 120 years.
Even if acquitted on all charges — and court watchers aren’t optimistic — Combs is still facing a rough future. His reputation will be difficult to repair, and much of his once-formidable business empire is already crumbling. He’s also facing dozens of civil lawsuits, where he could still be held liable for monetary damages even if he’s cleared on the criminal charges.
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T.I. was not playing when it came to protecting his queen.
During a recent show, the King of the South stopped his whole performance to jump off stage and check some men who were bothering Tiny in the crowd. In a video that has been making the rounds online, T.I. is seen mid-performance when he notices something going down near where Tiny was standing. Without missing a beat, he hopped down and pushed through a few men who looked like they were getting out of line with her.
After making sure everything was under control, T.I. got right back on stage and called it a “quick intermission.” But he made one thing very clear, saying, “Leave her alone, if you see me and I am not right there with her, leave her alone, I will flip the muthaf**kin’ table.”
T.I. and Tiny have been holding it down together for a long time. They got married in 2010, but their relationship goes back even further. Both have built major careers in the music industry, with T.I. being a Grammy-winning rapper and Tiny being part of the legendary R&B Group Xscape. Despite the spotlight, public ups and downs, and the demands of fame, they have managed to keep their love strong. They balance their careers and personal lives by supporting each other, communicating openly, and staying loyal.
What happened at that concert was not just a moment—it was a message. T.I. does NOT play when it comes to his wife.
