Pop

6 Best Moments From Charli XCX & Troye Sivan’s L.A. Show: Kesha & Tate McRae’s Surprise Performances, More

Charli XCX and Troye Sivan played the first of two sold-out shows at the Kia Forum in Inglewood, Calif., on Tuesday night (Oct. 15), effectively turning the 17,500-capacity venue into a revved-up, sex-positive dance party that more than lived up to the tour’s Sweat moniker.

Given Charli’s grip on the culture this summer, there was predictably no shortage of Brat representation in the crowd, both official and unofficial — Brat green hats, Brat green T-shirts, Brat green accessories — not to mention a plethora of black knee-high boots and Troye-styled audience members in white tank tops and baggy trousers. On stage, the two stars traded off sets and occasionally came together (no pun intended) to perform, including on duets such as “1999” and the show-closing “Talk Talk.”

Thanks to the cultural juggernaut that was brat summer — an out-of-nowhere phenomenon that earned Charli nearly $10 million, according to Billboard estimates — it would be easy to over-emphasize the “Von Dutch” singer’s portion of the show. But in truth, the tour is a well-balanced affair that’s held together by the two stars’ easy camaraderie. Even when one of them ceded the stage to the other, the presence of the absent party was always felt (and often seen, thanks to an ingenious, multilayered stage setup).

The co-headlining stars touched down in L.A. as the tour nears the end of its run; after playing the Forum again on Wednesday, the duo is set to play just four more dates, concluding the tour at Seattle’s Climate Pledge Arena on Oct. 23.

Here are the six best moments from the Tuesday night show.

Mariah Carey Reveals Her ‘Best Album,’ Despite the ‘Zero Accolades’ It Received

Mariah Carey is looking back at some of the most defining moments of her career.

The chanteuse sat down with Matt Rogers and Bowen Yang for a new episode of the duo’s Las Culturistas podcast, where Carey revealed how much her sixth studio album, Butterfly, meant to her. “It definitely has very special significance to me. I think it’s probably my best album,” she revealed.

When Rogers replied that he doesn’t understand why Butterfly “doesn’t have all the accolades,” Carey agreed. “It has zero accolades, I think,” she joked, before adding, “I love that album. It has a certain feeling when you listen to it. It’s just got a lot of diversity. You go from ‘Breakdown’ to ‘Butterfly’ to ‘My All.’”

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The collection was released in September 1997 and featured the singles “Honey,” “Breakdown,” “The Roof” and the title tracks. The project debuted at No. 1 on the Billboard 200 album’s chart and was certified five-times platinum but the Recording Industry Association of America. While the project did not receive a Grammy, in 1998, “Honey” was nominated for best female R&B vocal performance and “Butterfly” was nominated for best female pop vocal performance.

Butterfly also represented a musical freedom for Carey, as she took control of her creative vision and began playing with hip-hop-influenced R&B to balance the pop and adult contemporary musical style fans were used to up until then.

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To celebrate its 25th anniversary in 2022, the superstar reflected on the project via social media, writing, “I will never forget the day I released this album to the world. I had never felt more exposed and vulnerable yet free and euphoric at the same time. It was a true EMANCIPATION (no pun intended!) of my spirit, soul and innermost feelings which I poured into every lyric and every note on every song. 25 years later, it’s still one of the proudest moments of my life & career.”

Watch Carey’s full Las Culturistas interview below.

Trump Campaign Accuses Critical Musicians of Trying to Keep ‘Half of the Country’ From Enjoying Their Songs

A day after Rufus Wainwright and Village People co-founder Victor Willis lashed out at Republican presidential candidate Donald Trump for playing their songs during a 39-minute musical interlude at one of his campaign events, the Republican National Committee has responded to the criticism.

In a statement to Billboard, RNC spokesperson Taylor Rogers noted that the campaign has the appropriate licenses from performing rights organizations BMI and ASCAP to play the music heard at the town hall in Oaks, Pa. on Monday during which the twice impeached former President halted the planned Q&A session to cue up a playlist of his favorite songs. “It’s a shame that some artists want to limit half of the country from enjoying their music,” Rogers said.

The unusual event hosted by Trump in one of the most crucial swing states was intended to be a back-and-forth with voters. But less than an hour in, after an audience member required medical attention Trump halted the proceedings and inexplicably asked his team to fire up Schubert’s “Ave Maria.”

The strange sight of convicted felon Trump doing a swaying dance to the instrumental version of that song instantly became fodder for mockery on late night programs and news casts on Tuesday. Democratic rival Kamala Harris’ X feed piled on with a trolling statement saying “hope he’s okay” along with video from the event of Trump solemnly swinging side-to-side as he listened to his playlist in the overheated room.

“Let’s not do anymore questions. Let’s just listen to music,” Trump said after a second audience member reportedly fainted from the heat. “Personally, I enjoy this,” Trump said. “We lose weight. We could do this, lose 4-5 pounds.” He then asked his for his sound person to cue up a second version of the funeral and church service staple “Ave Maria,” requesting a vocal version sung by Luciano Pavarotti.

“We’ll do a little music. Let’s make this a musical-fest,” said Trump, whose unusual request prompted NBC News to report that the incident once again put the focus on Democrats’ questions about 78-year-old Trump’s mental acuity with just three weeks to go before the Nov. 5 presidential election; if elected a second time, Trump would be the oldest president in the nation’s history.

In addition to the “Ave Maria” double-down, Trump spun Rufus Wainwright’s cover of Leonard Cohen’s “Hallelujah,” as well as Sinead O’Connor’s “Nothing Compares 2 U,” Oliver Anthony’s “Rich Men North of Richmond,” Guns N’ Roses’ “November Rain,” James Brown’s “It’s a Man’s Man’s Man’s World,” Elvis’ “An American Trilogy,” the Village People’s “Y.M.C.A.” and Andrea Bocelli’s “Time to Say Goodbye,” another song often played at funerals.

Harris supporter Wainwright issued a statement on Tuesday blasting Trump for playing his version of Cohen’s beloved, oft-covered 1984 hymn.

“The song ‘Hallelujah’ by Leonard Cohen has become an anthem dedicated to peace, love and acceptance of the truth. I’ve been supremely honored over the years to be connected with this ode to tolerance,” wrote Wainwright. “Witnessing Trump and his supporters commune with this music last night was the height of blasphemy. Of course, I in no way condone this and was mortified, but the good in me hopes that perhaps in inhabiting and really listening to the lyrics of Cohen’s masterpiece, Donald Trump just might experience a hint of remorse over what he’s caused. I’m not holding my breath.” The statement also noted that the publishing company for the Cohen estate has sent a cease-and-desist order to the Trump campaign.”

GNR and O’Connor’s reps have publicly requested that Trump not to play their music during his campaign stops, and the Village People threatened to sue the former reality TV star last year over a lookalike band playing their hits at Trump’s Mar-a-Lago Florida private. Trump has long been enamored with the group’s 1978 queer disco classic, which he plays a many of his events; spokespeople for GNR and O’Connor’s estate had not returned Billboard‘s request for comment on Trump’s event.

In a statement sent to Billboard on Tuesday morning, Village People co-founder, “Y.M.C.A.” lyricist and one of the owners of the song’s copyright Victor Willis wrote, “I have been inundated with hundreds of complaints from the public and press about Donald Trump and his campaign’s use of my song,” he said. “Me, and the Village People as well, have in the past opposed Trump’s use of ‘Y.M.C.A.’ and we have made this very clear to him.”

While Willis acknowledged that Trump has continued to play the song because he is “legally entitled” to thanks to what the RNC said in its statement is the proper licensing, he noted that despite his objections he will not be taking legal action at this time. “Could I have asked my wife, who’s a lawyer, to have BMI revoke his political use license… yes,” Willis said, adding that he decided not to because Trump’s repeated spins have “greatly benefited” the song.

“Some fans are demanding that I sue. I am not going to sue the President over his use of ‘Y.M.C.A.’ because it’s stupid and just plain hateful,” Willis said. “Though I don’t dislike Trump, I am a registered Democrat who supports Kamala Harris for President.” He added that Harris is also free to play the song if she wants to.

Trump has accrued a long list of artists who have objected to his use of their songs at his events, including, over two weeks this summer, Beyoncé, the Foo Fighters and Jack White, who blasted him for using their music without permission. They joined a long roster of acts who’ve made similar requests since Trump launched his first presidential bid in 2015, one that includes: Adele, Panic! at the Disco’s Brendon Urie, Celine Dion, Earth, Wind & Fire, George Harrison, Neil Young, Isaac Hayes, Linkin Park, Nickelback, Ozzy Osbourne, Prince’s estate and R.E.M., among many others.

Greatest Pop Stars of the 21st Century Podcast: Adele (No. 10)

On today’s (Oct. 16) episode of the Greatest Pop Stars of the 21st Century podcast, we kick off the top 10 of our list with a singer-songwriter who defied pretty much every trend that defined pop music at the outset of the 2010s — and still zoomed past everyone else to become the best-selling artist of the era.

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Host Andrew Unterberger is joined by Billboard executive director Joe Lynch and director of music Jason Lipshutz to discuss Adele’s potentially controversial No. 10 position on our list, and debate the quintessential question regarding her ranking: What matters more, the fact that Adele’s only released four albums in her career, or the fact that two of them ended up becoming two of the biggest albums in pop music history?

We also relive our memories from Adele’s skyscraping peak, discuss what ultimately made her both fit in with and stand out from a golden age for pop music in the early ’10s, and let our minds be blown all over again by some of the still-unthinkable numbers she put up at her commercial apex. We also unleash some ill-advised Adele impressions, get into some arguments over her later years (“Easy on Me”: classic or disappointment?), and theorize about what may still yet to be come in her future (a Taylor Swift duet? A supporting turn in a Martin Scorsese movie? 80 or 81?)

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Listen to our latest below, catch up on our past episodes here, and be sure to subscribe to Billboard‘s Greatest Pop Stars of the 21st Century series wherever you get your podcasts! (New episodes will be revealed on Wednesday and Friday for the next couple weeks, following the publishing of our Tuesday and Thursday Greatest Pop Star rankings for that week, before moving to a once-a-week schedule for the rest of the list.)

Sir Elton John’s 50-Year Career Honored With Gravity-Defying Keyboard Handstand Figure at Madame Tussauds London

Sir Elton John has been honored in innumerable ways during the span of his half-century career. But later this year Madame Tussauds London will pay tribute to the Rocket Man with a one-of-a-kind, gravity-defying figure that pays homage to the pop icon’s wild and wooly 1970s heyday.

According to a press release, the latest rendering of John will honor the decade of his rise to superstardom via a model that has the singer doing one of his patented keyboard handstands, with his legs in the air above his head and his hands firmly planted on the black and whites.

“We’ve been creating figures of Sir Elton John since the beginning of his legendary career, and he has always inspired us to go above and beyond in our creations,” said Madame Tussauds London general manager Steve Blackburn of the singer who has worked with the museum since 1976, when he was the model for its first-ever talking, smiling piece. “Back in the 1970s, his first figure was our first talking figure, and in 2024 we’re determined to go big again. The figure’s iconic, gravity-defying pose will capture the essence of Elton’s legendary early performances in a way that only Madame Tussauds London can. This will be our most structurally complex figure to date in our centuries-old history and it is going to be a real showstopper when we unveil it later this year.”  

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Madame Tussauds released behind-the-scenes images from the creation of the figure on Wednesday (Oct. 16), which it called one of the “most complex structural designs integrated into a figure to date.” The first-stage clay sculpt finds John wearing a white toile jumpsuit as well as a pair of the singer’s signature oversized eyeglasses as he hovers in the air, mouth agape; the final costuming will arrive with the finished figure.

The new John creation will launch at Madame Tussauds London’s “Impossible Festival” music zone later this year, taking its place alongside superstar recreations of Beyoncé, Ed Sheeran, Ariana Grande, Amy Winehouse, David Bowie’s Ziggy Stardust, Queen’s Freddie Mercury and more.

The upcoming John documentary, Elton John: Never Too Late, will debut on Disney+ on Dec. 13.

Check out an image of the new John figure below.

Elton John

Elton John

MADAME TUSSAUDS LONDON

Mariah Carey Is ‘So Mad’ She Hasn’t Dropped Her Grunge Album Yet: ‘You’ll Hear It’

It’s been nearly 30 years since Mariah Carey recorded a grunge album with her band, but it’s still not too late for the world to hear the icon embrace her inner rock star.

On the episode of Bowen Yang and Matt Rogers’ Las Culturistas podcast that dropped Wednesday (Oct. 16), the vocalist confirmed that she hasn’t forgotten about Someone’s Ugly Daughter, the alt-rock LP she worked on with her band in 1995 while simultaneously recording her album Daydream. “I’m so mad I haven’t done that yet,” she told the hosts of wanting to release the shelved project.

Even so, Mimi says there are some logistics she hasn’t yet thought about. “Who do I drop it with?” she said, to which Rogers suggested she release it independently through Garage Band.

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“I could do that,” Carey continued. “It’s a good album. OK, you will hear it. I was getting life from that, seriously. It was jokes, as well. They’re everlasting.”

As told by the “Obsessed” singer in her 2020 memoir The Meaning of Mariah Carey, the singer and her band wrote and recorded Someone’s Ugly Daughter to blow off steam while working on Daydream. She initially wanted to drop it as it was, but ended up releasing it under the pseudonym Chick with her friend Clarissa Dane on lead vocals.

The Songbird Supreme previously spoke about the grunge album on Rolling Stone Music Now in 2020, confirming that she’d uncovered the original version of the record with her voice at the forefront. “I think this unearthed version will become something that, yes, we should hear,” she said at the time. “But also, I’m working on a version of something where there’ll be another artist working on this with me as well … Possibly something built around the album. I’m just full of surprises.”

Carey’s episode of Las Culturistas comes as the superstar is gearing up to embark on her 2024 holiday tour, which kicks off Nov. 6 in Highland, Calif. The trek will run for about six weeks, with the star making stops in Texas, Georgia, Philadelphia and more parts of the U.S. before closing out Dec. 17 in Brooklyn, N.Y.

“It is going very well,” she recently told Entertainment Tonight of rehearsals for the tour. “We just finished up working on my setlist, getting the whole stage together, the ensembles, the fits — all of it.”

In April, Carey will reach the 20-year anniversary of her iconic album The Emancipation of Mimi, which spent two weeks at No. 1 on the Billboard 200 in 2005. The five-time Grammy winner kicked things off a few months early at the beginning of October with a performance of “We Belong Together” at the American Music Awards.

Listen to Carey’s Las Culturistas episode below.

BTS’ Jin Reveals Track List For Six-Song Debut Solo Album, ‘Happy’

BTS member Jin‘s long-awaited debut solo album finally has a release date and track list. The K-pop superstar’s first full-length venture outside the on-hiatus group’s orbit is called Happy and it is due out on Nov. 15.

The announcement was accompanied by a brightly colored, playful tracklist poster with the mini-LP’s title up top in big cartoony letters and the six tracks displayed in a variety of bright red, green and blue typefaces.

“Reflecting the title of the album, the tracklist poster exudes a lighthearted, joyful mood with colorful confetti-like dots and stars against a bright red backdrop,” read a statement. “It evokes the feeling of receiving a specially-adorned gift along with the phrase ‘TRUE HAPPINESS TRUE LOVE’ at the bottom of the poster, adding a heartfelt touch.”

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In addition to the focus track, “Running Wild,” the collection will include the pre-release single, “I’ll Be There,” which is due out on Oct. 25. The album will also feature “Another Level,” “Falling,” “Heart on the Window” (feat. WENDY)” and “I will come to you.” Jin collaborated with a number of other acts on the album, including Take That’s Gary Barlow, who co-produced and co-wrote “Running Wild.”

He also roped in Take and Toru from the Japanese rock band ONE OK ROCK to co-produce “Falling” (along with GHSTLOOP). “Happy reflects Jin’s honest contemplation on happiness, which holds significant importance to him,” according to a press release. “Embarking on a journey to find the true meaning of happiness, Jin aims to share a sense of warmth and comfort through a true, authentic expression of himself as a solo artist.”

To date, Jin, 31, has released the solo tracks “Super Tuna,” “Yours,” “Abyss,” “Awake,” “Tonight,” “Epiphany” and “Moon,” as well as contributing to the soundtracks of a number of Korean TV shows and collaborating with Coldplay on his debut solo single, 2022’s “The Astronaut.”

The oldest member of BTS, Jin was discharged from his mandatory South Korean military duty in June and his solo debut comes as ARMY eagerly await the rest of the band members finishing their required hitches in anticipation of BTS’ expected 2025 return.

Check out the tracklist poster for Happy below.

SEVENTEEN and Spotify to Bring Carat Station NYC Pop-Up Experience for Top Fans Next Week

Fresh off releasing new album Spill the Feels led by the DJ Khaled-featuring single “LOVE, MONEY, FAME,” SEVENTEEN’s ongoing global takeover steps into the Big Apple as the K-pop powerhouses partner with Spotify for an exclusive pop-up experience made for their most loyal fans, affectionately known as Carats.

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Billboard can exclusively reveal details for Spotify x SEVENTEEN Present: Carat Station NYC, for Oct. 26 in Manhattan’s Soho neighborhood offering fans an in-person experience through their own whimsical, SEVENTEEN-themed world.

Like the band’s recent pop-up with Spotify in Seoul, the immersive experience will let local Carats explore a fantastical train station in the clouds with special, fan-centric details inside. Attendees can explore interactive kiosks and photo ops, including personalizing your light stick at the Charms Customization Station, indulging in Korean delicacies at the Dining Concourse, and exploring the Carat Street Flower Market that will be exclusive to the NY location.

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“K-pop is now a major global and growing genre on Spotify and our Carat Station pop-ups represent that,” Lucy Davidson, Lead Label Partnerships at Spotify, tells Billboard. “By bringing the activation to New York City, we’re showing SEVENTEEN’s fans around the world that we see them too…Spotify’s Music teams in Korea, the U.S. and Japan worked in lockstep to create unique events in each city that feel both authentic to that particular place and connected to the larger Carat fandom. That’s why you’ll see common threads throughout each experience, but unique elements as well — like the Flower Market kiosk in New York City.”

Spotify will send personal invitations to SEVENTEEN’s top listeners in the NYC area starting today (Oct. 16), and the event will be open to the public at a soon-to-be announced location. Fans can also make reservations which will be honored on a first-come, first-served basis. RSVP at this link here.

SEVENTEEN also shared an exclusive message with their fans reading on Billboard, saying, “Hi Carats! Thanks for stopping by Carat Station in Seoul this past week. We hope you had so much fun! New York, don’t worry! We have a surprise coming your way too. October 26. See you soon!”

“The Carat Station concept was inspired by the idea that the fan journey starts long before the concert begins,” Davidson adds. “Fandoms are built in the hours leading up to the ‘big moment,’ whether through streaming the music, exploring the artist’s stories, watching videos, or connecting with other fans. Every genre has a unique fandom and K-pop is no different. We know New York’s Carats will be looking for insider details in every corner and so we’ve done our best to deliver SEVENTEEN-specific references for them to discover throughout the experience.”

Carat Station NYC runs parallel to the upcoming U.S. leg of SEVENTEEN’s RIGHT HERE world tour that kicks off its U.S. leg with two shows at Chicago’s Allstate Arena on Oct. 22 before two dates at the UBS Arena in New York.

Get ready for Spotify x SEVENTEEN Present: Carat Station NYC with images from the recent Seoul experience below and check out Spotify’s SEVENTEEN WORLD TOUR [RIGHT HERE] playlist.

SEVENTEEN x Spotify Seoul

SEVENTEEN x Spotify Seoul

Courtesy Photo

SEVENTEEN x Spotify Seoul

SEVENTEEN x Spotify Seoul

Courtesy Photo

SEVENTEEN x Spotify Seoul

SEVENTEEN x Spotify Seoul

Courtesy Photo

SEVENTEEN x Spotify Seoul

SEVENTEEN x Spotify Seoul

Courtesy Photo

SEVENTEEN x Spotify NYC

SEVENTEEN x Spotify NYC

Courtesy Photo

Britney Spears Working on Novel, Reveals ‘Girl Crushes’ on Kendall Jenner, Natalie Portman, Camila Cabello

Britney Spears isn’t afraid to share her obsessions. On Tuesday (Oct. 15) the “Toxic” singer posted a lengthy tribute to her favorite women on Instagram Stories, reeling off a long list of famous singers, actresses and models who she is obsessed with.

“Women I genuinely admire and have crazy girl crushes on ???!!!” she wrote. “I have girlfriends I hang out with every now and then but it’s not the same as when we were younger !!! But why isn’t it ??? I wanted to share the women who inspire me !!!” Sure, there are friends she grew up with who she was so close to they finished each other’s sentences and even began to speak, walk and share mannerisms with.

But eventually you “get married and you grow up an live worlds apart,” she said. So, Brit ran through a list of women who inspire her now. First up was former Baywatch star Pamela Anderson, who she said is a “classic babe and seems so sweet!!!”

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She also had kind words for Vox Lux star Natalie Portman, who she called the “coolest person,” recalling meeting the star on a New York street and realizing they had the same shirt on. She also gave props to “I Luv It” singer Camila Cabello, “because she’s so darn pretty and she makes me giggle out loud !!! Her personality is so sweet and kooky I think it’s healthy to be silly !!! I wish I was more like that.”

Britney then wondered if it’s “even normal to be that pretty ???” in reference to model Kendall Jenner and wrapped things up with shout outs to Selena Gomez and Drew Barrymore, just because they’re “literally gorgeous”; both women were on hand for Spears’ 2022 wedding to now ex-husband Sam Ashgari. In the end, Spears admitted that even she wasn’t sure why she committed all that to digital ink before wrapping up with a tease of what’s next.

“I’m away writing my novel and learning about myself,” said Spears, who penned two books with her mother, Lynne Spears, 2000’s Heart to Heart and 2001’s A Mother’s Gift, before releasing her 2023 tell-all memoir, The Woman in Me. At press time no additional information was available about the book from the singer who said in January that she will “never return to the music industry.”

NewJeans’ Hanni Testifies in Korean Parliament on Workplace Bullying & Artist Treatment in K-Pop Industry

In a rare moment of emotional candidness for the K-pop industry, NewJeans member Hanni took to the floor of South Korea’s National Assembly on Tuesday (Oct. 15) to address the issue of workplace harassment and bullying. Testifying before the Labour Committee of South Korea’s National Assembly, the 20-year-old spoke about her and NewJeans’ experiences working under ADOR, the group’s sub-label that’s part of HYBE that also houses the labels supporting BTS, SEVENTEEN, LE SSERAFIM and more.

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Arriving at the Seoul court midday on Tuesday to a media frenzy of eager reporters and photographers, Hanni, who is Vietnamese-Australian, shared in her testimony that she felt undermined and ignored by her company’s management. Recalling the incident she had previously shared during NewJeans’ guerrilla livestream last month, Hanni described how a manager overseeing another K-pop act had instructed the artists to “ignore” the NewJeans singer.

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“We have a floor in our building where we do hair and makeup and, at that time, I was waiting in the hallway because my hair and makeup was done first,” Hanni shared, per the BBC, during the televised parliamentary audit. “I said hello to all of them, and then they came back about five or 10 minutes later. On her way out, [the manager] made eye contact with me, turned to the rest of the group, and said, ‘Ignore her like you didn’t see her.’ I don’t understand why she would say something like that in the work environment.”

Hanni says these incidents were not isolated but part of a broader pattern that left her and her bandmates feeling disrespected. She detailed additional instances where senior HYBE executives failed to acknowledge her.

“Since my debut, we ran into a person in a high-up position many times, but they never greeted me when I greeted them,” she said, sometimes through tears, in her testimony. “I understood from living in Korea that I have to be polite to older people and that’s part of the culture — but I think it’s just disrespectful as a human being to not greet us, regardless of our professional status. There was a certain vibe [of disrespect] that I felt within the company.” Adding that the incidents had her come “to the realization that this wasn’t just a feeling. I was honestly convinced that the company hated us.”

Representing HYBE during the hour-long hearing, current ADOR CEO Ju Young Kim (who replaced NewJeans creator Min Hee-jin as CEO after HYBE’s multiple requests to step down) said she would “listen more closely” to the artists. “I believe I did everything I could,” Kim responded. “But seeing that Hanni felt this way and that the situation escalated to this point, I wonder if there was more I could have done.”

“I was told that because there wasn’t any evidence, there was nothing that could be done,” Hanni explained, per The New York Times. The outlet added that Kim cited her decision based on differing accounts of what happened.

With the K-pop industry infamous for tightly controlled and high-pressure narratives between artists, companies and the media, Hanni’s direct testimony is a unique insight into an artist’s daily experiences beyond the spotlight that can signal hope toward more open conversations about accountability. South Korea’s Environment and Labor Committee of the National Assembly is currently investigating working conditions in the entertainment sector, where labor laws do not cover many performers. During the hearing, An Ho-young, the head of the panel, emphasized the need for lawmakers to safeguard the rights of entertainers.

According to the Korea JooAng Daily, Ju Young Kim, previously in a leadership position in HYBE’s human resources department, expanded on the complexity of handling artists and employees.

“My understanding is that artists are not defined as employees by the law,” she said when asked about anti-harassment regulations for company employees and artists, per Korea JooAng Daily. “We have an internal guidance policy where we explain how constituents, regardless of whether they are employees or not, should respect each other. We are holding regular training programs and using a lot of effort to form our corporate culture.” Kim added that artists cannot use HYBE’s company hotline to report workplace harassment but instead adhere to “an internal guidance policy where we explain how constituents, regardless of whether they are employees or not, should respect each other.”

While NewJeans have actively sided with Min Hee-jin in the executive’s ongoing power struggle with HYBE, Hanni expressed a more universal hope regarding the future of working in K-pop.

“I hope trainees don’t suffer these incidents and that’s why I decided to appear,” Hanni said, according to Reuters. “I know it’s not going to solve all the problems in the world, but if we just respect each other, at least there will be no problems with bullying and harassment in the workplace.”