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It’s time for another Executive Turntable, Billboard’s comprehensive(ish) compendium of promotions, hirings, exits and firings — and all things in between — across music. We also have a weekly interview series spotlighting a single executive and a regularly updated gallery honoring many of the industry figures we’ve lost throughout the year.
ByteDance has hired former Warner Bros. Pictures legal honcho John Rogovin as the Chinese company’s new global general counsel, effective immediately. He reports directly to Liang Rubo, CEO of ByteDance. The role includes oversight of TikTok, which has a lot going on right now. Rogovin’s arrival comes as TikTok and ByteDance engage in a monumental battle with the United States government following the passage of legislation requiring the parent company to sell the app or face a national ban. In early May, the company filed a federal lawsuit aimed at overturning the law, calling it an “unconstitutional” action aimed at “silencing” more than 170 million Americans who use TikTok. TikTok chief Shou Chew rightly said Rogovin’s arrival comes at an “important time” for the company. Rogovin, who clocked time at both the FCC and the DOJ earlier in his career before a 14-year run at WB, added that he looks forward to “helping to ensure that our platforms continue to provide a critical forum for more than two billion users worldwide to entertain, teach, and connect with one another.” Rogovin succeeds departing general counsel Erich Andersen, who has shifted to special counsel.
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Federica Tremolada
Spotify
Federica Tremolada was promoted to general manager of Europe for Spotify, effective immediately. Tremolada, who spent the last five years as managing director of Southern and Eastern Europe, fills the shoes of Michael Krause, who earlier this week announced his departure after a seven-year run as GM. Both execs made their own announcements on Linkedin, with Krause calling it a “perfect time to pass the baton” and spend time with family before seeking “new adventures later this year.” Tremolada, meanwhile, called working at Spotify “one of my biggest dreams come true” and listed opening Casa Spotify in Milan, where she is based, and growing the podcast business in the region as some of her tenure highlights. Prior to joining Spotify, Tremolada spent more than a decade at Google, where she rose to head of international partnerships for the YouTube TV squad.
Austin Jenkins was named vp of A&R at Island Records. Based in Nashville, Jenkins started at Island in 2023 and played a pivotal role in the signing and development of artists including Wyatt Flores and Medium Build at the label. He will continue leading Island’s Nashville operations. Jenkins was formerly the founder, guitarist and songwriter for Texas band White Denim. He later founded Fort Worth, Texas, recording studio Niles City Sound with Josh Block and Chris Vivion, where Jenkins and Block co-produced, recorded and mixed Leon Bridges‘ full-length debut album, Coming Home. Jenkins performed guitar and bass on the album and also toured with Bridges as part of his band.
Adam Salomon was named senior director of A&R at Concord Music Publishing. Salomon joins Concord from London-based music management company Chosen Music, where he led A&R efforts. He reports to Concord Music Publishing executive vp of worldwide A&R Kim Frankiewicz. Originally from Sweden, Salomon has held A&R and management roles across independent and major labels in the country, including Universal Music Sweden, where he led the Svenska Inspelningar label.
Producer, songwriter and rapper Rodney “Darkchild” Jerkins launched a new record label, Alienz Alive, which Jerkins described in a statement as “a collaborative community of creatives that are Christ-centered where artist development is key. We encourage our artists to use their gifts to uplift and inspire. Sonically speaking the influences are Hip Hop, R&B, and Indie Rock. As long as it glorifies God and it’s dope, all are welcome.” At launch, the Alienz Alive roster includes Jon Keith, GAWVI, IMRSQD Alex Jean and TJ Carroll. Jerkins will be involved in the label’s day-to-day operations.
Madison House is building a bigger booking agency with the hiring of industry veteran Thomas Ponsart as booking agent and Ruby Williams and Madison Dawson as agent assistants. Bay Area-residing Ponsart has more than a decade of experience and learned under the tutelage of Tom Chauncey and Hank Sacks at Partisan Artists. He brings with him a roster that includes John Craigie, Monophonics, Parlor Greens, Madeline Hawthorne, Kelly Finnigan, Anthony Villacari and Goodnight, Texas. Williams arrives from Freshwater Art Gallery & Music Venue in Boyne City, Mich., where she booked artists of all stripes, and is now based in Madison House’s office in Ann Arbor. Dawson is a recent Belmont grad and intern at Madison House in Nashville, where she is based. “The ultimate decision to join forces with Madison House is our shared values, growth mindset, adaptability, freedom to pursue new clients, and their tech forward approach to new systems,” said Ponsart. “Madison House has instilled these values in their team for decades and it makes them a commendable and unique business that I’m excited to call my new home.”
Riser House Records named Amy O’Connor as head of sales and streaming. O’Connor previously served as marketing director at Sony Music/Legacy Recordings, working Sony’s country legacy catalog including music from Dolly Parton and Willie Nelson, as well as working with artist estates including Johnny Cash and Loretta Lynn. O’Connor previously led the streaming team at Better Noise Music, working on projects for Papa Roach, Mötley Crüe and Five Finger Death Punch. –Jessica Nicholson
Filmmaker and music producer Jesse Lauter joined Peter Shapiro’s Dayglo Presents as head of production & media. In this newly created position, Lauter will oversee the creative side of video and audio production for Dayglo venues, including The Capitol Theatre in Port Chester, NY and the Brooklyn Bowl mini-chain (Brooklyn, Las Vegas, Nashville and Philadelphia), along with the newly added Bearsville Theatre in Woodstock. One of his main responsibilities is directing live-streams for FANS.live and Relix out of the Capitol Theatre. Lauter most recently directed Learning To Live Together: The Return of Mad Dogs & Englishmen about Joe Cocker, and is currently working on a film about swamp rock legends Little Feat. He’s also worked with Dayglo on a part-time basis for years. “I’ve been a part of this family for a long time, and have so much love and respect for Pete and what he has built,” he said. “It’s a perfect fit.” each Lauter is reachable at jesse@dayglopresents.com.
Courtney Zeppetella is no longer senior vp, controller and chief accounting officer of Madison Square Garden Entertainment. Zeppetella’s resignation, effective May 31, was disclosed in an SEC filing three days prior to her exit. The NYC-based executive joined MSGE in May 2022 following a 21-year run at KPMG, where she rose to audit partner. Michael J. Grau, the company’s executive vp and CFO, will serve as the company’s interim principal accounting officer until a replacement is named.
ALL IN THE FAMILY: Billboard‘s longtime Australian correspondent Lars Brandle is now head of content at The Brag Media, where he’ll oversee strategy across Rolling Stone Australia and New Zealand, Variety Australia, The Music Network, Tone Deaf and more titles. Brandle joined Billboard in 2000 out of the London bureau and for many years served as global news editor and later as overnight editor — along the way amassing a paltry 835 pages of written articles. New gig aside, Brandle isn’t fully free of Billboard‘s clasp just yet — The Brag Media holds the license for Billboard in Australia. Talk soon, mate!
Sphere Entertainment hired industry veteran Chandra Allison as executive vp of sales and service at the Las Vegas megavenue. In her new role, Allison will drive sales strategies, develop conferences and events, oversee service teams, and build on Sphere’s strong relations with fellow stakeholders in Vegas. Allison, who has done consultant work for Sphere, most recently served as senior vp of strategy and growth at Oak View Group, where she oversaw growth and strategy for its OVG360 portfolio. Prior to OVG, Allison put in nearly 25 years at The Venetian Resort, where she rose to svp of sales and marketing. “Sphere is a game-changer in this dynamic market,” she said, “and this is a tremendous opportunity to continue working with the team to develop one-of-a-kind experiences that enhance Sphere’s presence in Las Vegas across a range of event categories and guest experiences.”
NASHVILLE NOTES: Kelli Haywood and Leigh Holt teamed to launch Hsquared Management. The company combines the artist rosters from their respective companies, KCH Entertainment and maddjett, while they also reveal their first signing together, Capitol CMG singer-songwriter Riley Clemmons. The Hsquared client roster also includes Lauren Daigle, Carlos Whittaker, Annie F. Downs and Megan Danielle –J.N. … UMG Nashville‘s director of radio marketing Donna Hughes departed after 13 years. Hughes was previously national director of radio syndication at Capitol/EMI Records before those imprints were joined UMG.
ICYMI:
Lee Anderson
Warner Music Group hired Michael Ryan-Southern to lead the company’s acquisition efforts … CAA appointed Darryl Eaton, Emma Banks and Rick Roskin as co-heads of the global touring division … French collective management organization SACEM extended Cécile Rap-Veber’s term as CEO … MNRK Music Group president and CEO Chris Taylor is resigning effective June 28 and will be replaced by COO Sean Stevenson … Lee Anderson was named president of Wasserman Music … Lionel Ridenour was named executive vp of promotion at gamma. … Dennis Ashley Jr. and son Dennis Ashley III launched a new multimedia firm … Day After Day Productions hired Melanie Davis as head of tour marketing, while promoting Marc Ertel to head of creative and Erin Patterson to head of marketing.
Last Week’s Turntable: PierFerd Partners Up
When Myles Smith initially posted a teaser of what would become the soaring folk-pop hit “Stargazing” to his TikTok in early April, he had no idea what would become of it — both in terms of its overwhelming fan response, but more pressingly, how the then-still-unfinished preview would sound when it ultimately became a completed product.
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“As the song was gaining momentum, I was like, ‘Oh snap, I’m gonna have to finish this thing,’ ” Smith tells Billboard. A week after making that initial post, which featured him singing a stripped-down rendition of the song’s captivating hook over a simple acoustic guitar, Smith unveiled a studio demo of “Stargazing,” which he continued to use as a teaser — generating 80 million views across several videos — until its official release on May 10.
Soulful melodies, heartfelt lyrics and an online following of fans hungry for more made the perfect recipe for the 26-year-old Luton, England native’s debut on the Billboard charts. With 6.7 million official U.S. streams in its opening week, according to Luminate, the track became Smith’s first-ever Billboard Hot 100 entry at No. 77 on the chart dated May 26. And the song is continuing to heat up as summer rolls in — it reaches a new No. 51 high on this week’s list, boosting Smith into the top five on Billboard‘s Emerging Artists chart for the first time as well.
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As “Stargazing” continues to shine, Smith is taking it all in, without abandoning his go-to strategy: sharing glimpses of unfinished projects with fans along the way. In the past few weeks alone, Smith has already posted demos of the pop-infused folk ballad “Whispers” and the charming love song “Be Mine” to his TikTok. “It could be a ‘Stargazing’ part two,” he teases of the latter track. “You never know with these things. I was itching to get it out.”
Below, Smith opens up about the cosmic growth of “Stargazing,” balancing social media with mental health, his experience being on tour, his dream collaboration list and more.
Where did you get the idea for “Stargazing,” and how did it come together?
It was something that was birthed out of being with the people that I loved in a space that I loved. I was out in Malibu in L.A. [in January], my first time ever there, and distinctly different from where I grew up. I was with songwriter Jesse Fink and a songwriter-producer Peter Fenn, who I’ve collaborated with before. I just signed with my label [RCA Records], and I was like, “I want to write something that’s really warm, fun and happy.” I came up with the hook pretty instantaneously.
It was just us jumping around, about day five into writing — looking at each other with guitars and having the time of our lives. It came from the idea of the people that you love, the things that you love, always being present in your life, maybe in a way you don’t recognize or see. And then that coming into light later in the day, and that euphoric moment of realizing that. The whole song wasn’t finished on that day, but the embers of it definitely were. From the very moment that that melody was found, the warmth in the room was infectious.
Where did the “Stargazing” metaphor come from?
It jumped out of nowhere. It was getting late in Malibu, and we’re looking over at the ocean and the sun setting, and in that beautiful moment, I stood there and it was quite cathartic. I was like, “Damn, I’m doing the thing that I’ve really wanted to be doing while looking at this beautiful night sky setting.” We were like, “Oh snap, is this what it’s called?” We threw the word in and it found its life there.
How much did the initial recording change from the final product?
At the time, it was just really the hook and the bare bones of the verse and melody. I think that’s the exciting part of where we are now in music. Not everything has to be done, and not everything has to be perfect. In fact, the process of getting there was very much a reciprocal relationship between me and my fans. Watching them react to it, I was even more inspired to finish the song. We kept the bones of the demo in there, and we embellished it to bring it to studio standard. We wanted to not step too far away from the magic that had been created.
So when you posted that initial snippet on TikTok, you didn’t have the whole song done yet?
No, the whole song was not done by that point but it was something that we knew was special. “Solo” and “My Home” — my two songs before that — were a similar process. I just fell in love with the bare bones of the song. I’ve got this really itchy finger in which I can’t wait to put something out. I know for a lot of artists, it’s about putting out what’s perfect. But for me, there’s so much beauty in imperfection.
A big part of why I love the audience that I have is that they bear with me as I get through things and as I explore what something should sound like. Them being part of my creative process is integral to the music being what it is and to it connecting the way that it connects. I’m forever thankful to the feedback online. It really matters in that final mastering and finishing of any song that I make.
Has there been any reaction to its chart success from friends or family that stands out?
My mum was exactly like me, and was like, “Is this real? Are you being scammed?” [Laughs.] We got on FaceTime and I got about 50 texts from friends and family because my mum had gone mental on all the group chats. Especially here in the U.K., the reality of a U.K. artist being on the Billboard [charts] isn’t very big, so when you hear it, it does sound a little bit like a dream. Then it happened, and we were like, “Oh my word. We’re making waves across the pond.”
It’s so fulfilling and so inspiring, the fact that I’m able to do this, and follow so many great British artists. To have support across the water and feel like I have a home away from home has just been so humbling, and such a privilege of an experience. Charting on the Hot 100 has such a profound impact on an artist’s journey, to really gain confidence and validity in how they think and feel about their art and their music.
Do you have a favorite interaction or use of the song on TikTok?
The ones that really get me are the wedding ones. This is someone’s biggest day of their life to this point, potentially. And they’ve chosen my voice, a kid from a million miles away who grew up in a town that no one’s ever heard of, as their soundtrack. It stops me in my tracks every time that I see it, and it reminds me that the thing that we do as artists really does have an impact on people’s lives.
Sometimes on the internet, you can be so distracted by the things that don’t matter. When you’re pulled back into reality by those moments, it really amplifies the role of an artist — but also the beauty of the music industry and moving towards social media in a global perspective. I’m so lucky to be a part of a generation of artists who are doing that.
What is your current relationship with social media like?
My relationship is healthier than what it was. We naturally compare ourselves to people so much and look at people doing amazing things. For a long time, I took that as a reflection of what I wasn’t doing. That wasn’t great for me. But I started to use social media, for lack of a better word, in a more selfish way — like, “Hey, I want to use this as a tool to find my community, build relationships and network.” I started focusing on what was important to me, and it became such an incredible part of my artist journey.
Now I have a community that thinks, feels and expresses themselves in such similar ways and teaches me things about myself and the world that I didn’t know. I see it now as an opportunity to connect with people across the world.
You’re currently on tour in Europe. What’s that experience been like?
I did a mini-run of shows at the start of this year, and that was my first moment of bridging the gap between online and real life. It was such a surreal moment. Being on stage and being in cities I’ve never been and people singing lyrics back to me, it stopped me in my tracks every single night. This tour is that, just a little bit bigger. It’s still the exact same feeling. It feels like I’m living a dream. People ask me, “Is this normal yet?” For me, it’s not. I don’t ever want it to be normal.
The magic of living your dream and seeing it every night is what I think what music’s all about. To see people in real life, hear their stories and hardships and sing, laugh, cry in a room together is what I want to do for the rest of my life. I’ve loved every moment of this tour. I can’t wait to go to the States and run it back.
What’s next for you after tour?
After tour I will be taking… I’m lying. I’m not gonna be taking a break. I don’t have time to take a break! I’m going to be straight back in the studio, writing and recording more music. The part I love about what I do, and the part about working with the people I work with and the label that I now call home at RCA, is that they really support my vision of being able to put out music, and not always having to wait.
Who are some of your dream collaborators?
I’m a huge Mumford & Sons stan. I love Noah Kahan — I think what he does is just unbelievable. I can’t think of someone who’s a better songwriter at this current stage. Hozier is a GOAT of GOATs. But if I had to pick an all-time dream, it’d be Chris Martin. I will forever be a Coldplay stan.
A version of this story originally appeared in the June 1, 2024, issue of Billboard.
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Lululemon may have initially gone viral for its Everywhere Belt Bag and Mini Shoulder Bag, but the athleisure brand has a new accessory that’s quickly becoming a coveted purse — especially when paired with a popular and easy TikTok DIY hack. Lululemon’s new Mini Barrel Duffle Bag has TikTokers obsessed with its chic design that, when paired with bows, becomes a designer-worthy handbag (and for less than $100).
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More than 10 million videos have been made about the mini Luluelmon duffle bag, with most of them showing off the bow trend that’s “so easy” to replicate. User @dallas__333 even gathered more than 11,000 likes for a video demonstrating how to get your bow to “sit perfectly” every time, which you can see below.
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All you need is satin ribbon to complete the look — here’s a white ribbon option for a contrasting look or there’s this black version if you’d prefer a monochromatic style.
Whether you plan on hitting a yoga class or are just going out with friends for drinks, this barrel bag will add a fashionable touch to all of your outfits (day or night). It comes in two shades: black and blue and features an adjustable crossbody strap that can also be removed and turned into a handbag.
Keep reading to shop the viral Lululemon Mini Barrel Duffle Bag below.
Knit Nylon Mini Barrel Duffle Bag 5L
This duffle bag comes with a barrel-shaped body complete with a zipper closure to keep your belongings safe and secure. The exterior uses a smooth nylon and water-repellent material that’ll keep you phone, wallet, sunglasses and other accessories dry. You’ll also find a mini zippered pocket on the inside for extra storage options.
The rounded shape of this mini duffle is reminiscent of luxury purses at more than ten times the price, but we like the versatility of this Lululemon version, with both a top handle and shoulder strap for easy carrying. The nylon material is also super easy to wipe clean and take care of (versus say, this leather version from Coach).
One Lululemon reviewer even wrote on the site that they returned their luxury designer purse for this mini duffle as it’s spacious yet trendy to pair with day and night looks. “So I decided to return a Marc Jacobs small tote for this bag,” the reviewer wrote. “It hits all the marks for day to evening wear. Super lightweight and quality is perfect.”
Recreate the TikTok look by picking up the Mini Barrel Duffle here and adding on black satin bows here. Just like the lifestyle brand’s other viral products, it’s not uncommon for colorways to quickly sellout, which means you’ll want to add it to your cart before it’s too late.
For more product recommendations, check out our roundups of the best gym bags, tote bags and Lululemon clothing for men.
All products and services featured are independently chosen by editors. However, Billboard may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes.
Upgrade your selfie game with this TikTok-viral and Amazon’s bestseller selfie light clip. Whether you’re indoors or outdoors, this portable phone light can help you achieve professional-looking photos or video anywhere, anytime. This versatile clip provides 10 levels of brightness and three different light modes: cool light, warm light and warm cool light.
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For those who have been scrolling on TikTok on a daily basis, you might have come across this one-of-a kind selfie light. Not only can you clip it to your phone, but it’s also perfect for attaching to your laptop, iPad, makeup vanity table and more.
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If you’re shopping on Amazon, consider taking advantage of all Amazon Prime has to offer and sign up for a 30-day free trial, which also comes with access to Prime Video, Prime Gaming and Amazon Music. And to help make sure you get your purchases quickly, being a Prime member means you get fast, free shipping in two days or less with Prime Delivery.
Amazon
OLRPT Selfie Light with Front & Back Clip
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For those looking to produce high-quality content — from making TikTok videos to capturing top-notch picture — consider getting this selfie light.
With its compact size and adjustable brightness levels, you’ll be able to adjust lighting to your liking and take it with you wherever you go. According to an Amazon customer, “It’s a total game changer when it comes to getting that perfect lighting for quick posts. Whether I’m indoors or outdoors, day or night, this little gadget ensures that the light is just right every time.”
Another customer stated, “Makes my night pictures quality look better than I could have imagined.”
This easy-to-use selfie light clip can be supported with USB ports or Type-C ports (i.e., laptops, PCs, power banks, USB chargers and car chargers). It is also fully charged in just two hours.
So go get yours now and elevate your content with this quick and easy to use selfie light!
For more product recommendations, check out the best crossbody phone bags, the bestselling vanity mirror, and Amazon tops to elevate your overall style.
When Amanda Rovitz met Megan Boni at a college study abroad program in Sydney, Australia in 2018, she says she “always had this feeling” that Boni had star power.
“She’s just always been the funniest person I know,” says Rovitz. “I thought she would definitely emerge in entertainment somehow, not as a musician or singer, but as someone in comedy.”
Fast forward five years, and Boni, who is self-admittedly not a musician, has a label deal with Capitol/Polydor/Virgin Germany, and Rovitz, who became a music manager at 1916 Enterprises post-grad, is the one who helped her put it all together.
It’s all thanks to Boni’s video, poking fun at cliched “song of the summer” TikToks, that made her 2024’s most unexpected viral signing. While Boni admits she was “just having fun” with making the video, known as “Man In Finance,” her signing is also indicative of how major labels are evolving to meet the current demands — and breakneck pace — of user-generated music creation.
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“Did I just write the song of the summer?,” she says to the camera in her viral video, which has been viewed 28.6M times since it was posted on April 30. “I’m looking for a man in finance, trust fund, 6’5”, blue eyes,” she says in a rhythmic vocal fry.
@girl_on_couch
Can someone make this into an actual song plz just for funzies
♬ original sound – Girl On Couch
Boni, who posts under the handle @Girl_On_Couch, says she made the clip in just a few minutes. “Since COVID, TikTok has been a hobby for me,” Boni says. “I just thought it would be funny to make a video making fun of those single girls who are always complaining about being single, but yet they want an impossible laundry list of things in a boyfriend, and by the way, that’s myself included.”
It’s the sound that launched a thousand remixes. Producers including David Guetta, Alesso, Loud Luxury and Billen Ted immediately jumped on the sound, making it the top line to a number of different TikTok tracks. Now, with the help of Capitol/Polydor/Virgin Germany, Boni is licensing her TikTok vocal to the producers for official releases, the first of which was released May 17 as “Man In Finance (G6 Trust Fund)” with Billen Ted. In it, the producer duo splices together Boni’s vocal, original drums and a sample of “Like a G6” by Far East Movement.
Rovitz says that even before producers started remixing Boni’s audio, she texted her friend saying the video could really turn into something. Soon, she was proven right: The remixes became inescapable on TikTok, furthering Boni’s initial virality to even greater heights. Almost immediately, several major labels came calling, and Boni asked Rovitz to help her navigate the conversations. “I didn’t really know where to begin,” Boni says.
“Within four days, Amanda and Todd [Rubeinstein, music attorney] had me on calls with labels,” says Boni. “Two days after that we were talking with UTA,” who now acts as her agent as a creator/comedian. Boni says she went from being a totally DIY creator on TikTok to having a full-fledged team in about a week.
Zach Elgort, vp of marketing at Capitol, says it was a “perfect storm” to sign Boni. “It’s kind of a marketing dream,” he says. Unlike most songs, which start as completed masters and are then posted online in the hopes of gaining organic interest with listeners, this was the inverse. “It was an organic trend [already], which you always hope for. Now, it’s about pushing the actual song we released to DSPs and pitching it to our partners.”
This success is seemingly more akin to a TikTok “teasing” strategy, where an artist posts an unreleased song to gauge interest from fans first before committing to the release. But the difference with the “Man In Finance” phenomenon is that Boni made the video without the intention of making it into a real, release-worthy song. Still, Elgort says the official Billen Ted version has already been met with “exciting playlisting support” from streamers — it’s been added to Spotify’s New Music Friday and Teen Beats, among others — given that they could already measure listeners’ appetite from the original social media videos.
“Man In Finance” might have been made as a joke, but it serves as a clear indication of how people are creating and consuming music today, where some of the most culturally relevant songs are first (or only) available on socials. “This project shows an evolution of how social media meets music,” says Elgort.
The Kendrick Lamar and Drake feud, which played out simultaneously with the “Man In Finance” trend, acts as another example of how much music creation and consumption on social media has changed. All of the songs were dropped first on social media, with only a few making it to Spotify and Apple Music.
As MIDiA Research’s Tatiana Cirisano argues in a recent analysis, it’s a sign of the “continued shift in cultural value from streaming to social, which is bifurcating the music industry into two parallel consumer words: LISTEN, where streaming plays the role [of passive consumption]… and PLAY, where social platforms have a grip on culture.”
Moving forward, Elgort and the team at Capitol, along with Polydor and Virgin, are planning to license out Boni’s vocal to more producers who have been making remixes, anointing a few as official, DSP-worthy versions of “Man In Finance.” The plan fits perfectly with the current label strategy of releasing multiple versions of the same song to DSPs. It also shows how quickly and flexibly the majors are now working to sign viral songs and artists.
“Now, it’s really about figuring out a way to get SEO and search to tie back to the official release of the song… and as more official versions eventually get released to streaming partners, they’ll all be packaged together and help the greater visibility,” says Elgort.
Boni, whose label deal is only a licensing agreement for this one vocal, says she has no intention of writing more songs but is going to have fun with it while she can. “I won’t make more music unless it’s a parody… but I am definitely behind this song,” she says. She adds that she’s interested in appearing at producers’ shows, brand collaborations and more — anything to push the song she says changed her life “overnight” by allowing her to kick start her career as a creator and comedian, build her team and provide enough stability to quit her 9-5.
“I put in my two weeks last Thursday,” she says. “I’m really excited for what’s next.”
JoJo Siwa is ringing in 21 with a bang. The “Karma” singer took to TikTok on her birthday on Sunday (May 21) to share a tipsy video amid her celebratory festivities. “It’s my 21st birthday. I’m drunk as f— right now,” she tells the camera in the clip, appearing to be in her kitchen with […]
Not long after Artist Partner Group (APG) signed Odetari — who specializes in glitchy, racing electronic tracks — last year, the label set up a second Spotify profile for him. Odetari “frequently has two to three different versions of records coming out a month,” explains Corey Calder, svp of marketing and creative services at APG. “If we were to have that all sit on his page, it would feel cluttered and make it hard for his fanbase to follow and track it all.”
This means that “HYPNOTIC DATA – Slowed & Reverbed” and “GMFU – Sped Up” live on a Spotify page called ODECORE, while the original hits will be found by anyone scrolling through Odetari’s own Spotify profile. And this split artist identity is part of a growing trend where acts keep one Spotify account for “official” releases, plus a side account for alternate versions.
Odetari’s labelmate 6arelyhuman puts remixes on Spotify under the name Sassy Scene. A Spotify account named Mei Mei The Bunny has only uploaded sped-up versions of Laufey singles, four to date. Mark Ambor has a breakout hit in “Belong Together;” his team uploaded the sped-up remix to Spotify through a separate account titled Lucky Socks.
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Even just a few years ago, creating alternate Spotify accounts for alternate versions of hit singles would’ve seemed wildly unnecessary. But user remixes and edits have proliferated and become popular soundtracks on short-form video platforms like TikTok.
Listeners often don’t care whether the “slowed and reverbed” sound they find on streaming is an official version generating income for the artist they like or a random upload — they just want to play the track that’s stuck in their head. As a result, labels adjusted by starting to release their own alternate reworks to satisfy this portion of the population. If they’re going to stream “Belong Together (Sped Up)” anyway, it might as well be a version that makes money for Ambor.
The streaming service Audiomack found that uploads of “manipulated songs” by labels — official tracks sped and slowed, pitched up and down, muffled and reverbed — shot up at the end of 2022. The number of these releases has continued to rise rapidly ever since, climbing from under 1,000 a quarter to around 6,000 a quarter.
These remixes can thrive in their own streaming ecosystems. Universal Music Group launched a Spotify account called Speed Radio that only posted sped-up versions of label releases; sped up nightcore did the same for singles from Warner Music Group.
The goal was “to create another mechanism for growth and a new algorithmic pocket on streaming services that helps increase visibility and discovery,” says Nima Nasseri, a former UMG executive whose role involved helping the company market user-generated remixes. As these Spotify pages amassed followers who enjoyed sped-up audio, they allowed new remixes to reach a larger audience by standing on the shoulders of their predecessors.
Some remix-focused side accounts exhibit clear links back to the mothership in a way that also helps drive awareness of the main artist project — ODECORE and Sassy Scene songs usually credit Odetari and 6rarelyhuman, respectively, as collaborators. Some of these alter-ego accounts, like Lucky Socks, maintain a degree of anonymity.
But both cater to a demand: Anyone searching Spotify for a sped-up version of 6rarelyhuman’s “Faster n Harder” finds the Sassy Scene version first. 6rarelyhuman picks up plays (and royalties) that might otherwise have been steered towards an entrepreneurial cover artist.
ODECORE has an additional function, according to Calder: Eventually, the goal is to turn it into a “sub-label” featuring music from artists signed to Odetari. “Ideally we’ll have a built-in audience already,” Calder says. ODECORE currently has more than 430,000 followers on Spotify, according to Chartmetric; that group functions as a potential launching pad to help Odetari’s future signings reach a wider listenership.
“A lot of what we do internally at APG is create multiple profiles for artists across social channels, and we’ll run fan pages in-house for our artists,” Calder continues. “We have these secondary and tertiary brands that are always on in the background. And so we just applied that same thinking to a Spotify profile.”
At the moment, the primary downside to releasing remixes under an alter ego is that they don’t count towards the success of the original on the Billboard charts. If artists put out a remix under their own name, consumption of that new version also counts towards chart position (generally, as long this happens within 18 months of the original track’s release and the original is still a “current” on the charts). That’s why stars often put out remixes with big names attached when they’re in tight races for the top spot on the Hot 100. But if Ambor’s alternate version of “Belong Together” is attributed to Lucky Socks, he gets no help from the extra consumption.
Ben Klein, president of Ambor’s label, Hundred Days Records, acknowledges that “commercially, it makes a lot more sense” to put out remixes under the same artist project. But Ambor is not competing for No. 1 — at least not yet, as the song has only reached No. 84 on the Hot 100 — and the team chose to release “Belong Together (Sped Up)” under a goofy alternate name anyway.
“We actually took inspiration from the Laufey team when we came up with the idea,” Klein says. “When Mark thinks about his profile, he wants it to be a representation of his music. A sped-up version is meant to be a fun, playful way for people to engage with the song on social media. It’s not a direct connection to his artistry. And I think he just wanted to keep it separate for that reason.”
Calder believes “a lot more new artists” will take a similar approach in the future. As streaming platforms try to capitalize on the homemade remix eruption by adding their own audio manipulation tools, it’s easy to imagine artists encouraging fans to mess with their songs by saying that the most popular fan edit will be posted to an official artist account. Just not the official artist account.
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Source: 6381380 / Getty / Bear
A huge debate on TikTok has been settled regarding bears, men, and who women feel is safer around.
A video of a TikToker asking women on the street if they would feel safer alone in the woods with a bear or with an unknown man, and every woman, except one, resoundingly chose the bear.
As expected, men were in their feelings at the idea of women choosing to be alone with a bear rather than be in the presence of an unknown man due to understandable concerns of safety cause, and historically, men are nuts.
Well, TMZ spoke with a wildlife ecologist who is an expert on bears, and she broke down why the women choosing the bear are not far off in their assessment of men as the more significant threat.
Per TMZ:
Rae Wynn-Grant — a wildlife ecologist who got her PhD in all things bears — laid it out for TMZ … telling us these animals want nothing to do with humans in the wild and avoid us at all costs… unless food is involved, of course. She can’t say the same for guys.
RWG says … “I think this is a clever way for women to suggest to the wider world, particularly to men, that we, as women, feel constantly under threat.”
She adds … “And, that speaks volumes when it comes to time alone with a man compared to time alone with a predator, like a bear.” Rae goes on to say that bears are not naturally aggressive — contrary to the image they’ve cultivated — and they really don’t seek trouble.
Wynn-Grant also says the data is unequivocally in favor of bears over men, and if she had to choose, of course, she would want to be alone with the bear.
Well, there you have it.
You can see her break it down in her own words in the video below.
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Caffeine eye creams are the latest skincare trend to have taken over TikTok, with more than 91 million videos posted about the skincare product to date. While many affordable eye creams claim to leave a smoother appearance behind, TikTokers are praising The INKEY List’s caffeine eye cream not only for its effective formula, but its wallet-friendly price of just $11 — making it arguably one of the best beauty deals out there.
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What differentiates a caffeine eye cream from the rest is exactly what the name suggests: it uses caffeine. When you apply the ingredient to your skin though, caffeine will not only help wake you up ( by decreasing the appearance of dark circles), but also help reduce eye puffiness as well. This occurs as the ingredient narrows blood vessels and ultimately calms your skin, according to Dermstore.
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The INKEY List’s caffeine eye cream has generated a cult following with one bought every 30 seconds globally, according to the brand. The brand even praised how it’s been used by Alana Haim, which she showed off during a 2023 nighttime routine video for Harper’s Bazaar. Amazon shoppers also can’t get enough of its “smooth application” that also “is quickly absorbed by the skin,” per reviewers.
You can buy the caffeine eye cream online below or find it on Amazon, Sephora and TheINKEYList.com.
The INKEY List Caffeine Eye Cream
$11
$11
$11
For the best results, the brand suggests patting a small amount of the caffeine eye cream around the contour shape of your eye using your index or pinky finger. Make sure it’s evenly distributed and absorbed around the eye area, then follow up with your moisturizer and makeup as usual. Per INKEY List, you can use it morning and night or as much as needed until your desired results are achieved. Amazon reviewers also claim that one tube can last you a few months.
Aamna Adel a dermatologist at the National Health Service hospital in London, U.K., even posted a TikTok describing the benefits of a caffeine eye cream and even recommending The INKEY List’s cream.
“The best results are seen with consistent use,” she says in the video, which has generated more than 43,000 likes.
Along with The INKEY List’s eye cream, the dermatologist also recommended L’Oreal Paris’ Revitalift Eye Serum and The Ordinary’s Caffeine Solution, as good caffeine eye creams, which you can shop below.
L’Oreal Paris Revitalift Hyaluronic Acid Caffeine Serum
$27.97
$29.99
7% off
$27.97
$35.99
L’Oreal’s caffeine eye serum utilizes a paraben- and fragrance-free formula making it more sensitive-skin friendly. Along with caffeine, the eye serum also infuses hyaluronic acid, retinol and vitamin C to help brighten and smooth your under eyes.
The Ordinary Caffeine Solution 5%
$9.16
$9.20
$9.20
More than 6,000 Amazon shoppers have purchased this caffeine eye solution in the last month making it a must-have for your skincare routine. The formula incorporates 5% of a highly-purified EGCG from green tea leaves to help give your under eyes an almost instant boost while also reducing dark circles. We’ve been using this for months and love how lightweight the formula is and how easily it absorbs into our skin. The cute packaging is great for a bathroom #shelfie as well.
Does Caffeine Eye Cream Really Work?
As Adel describes in the TikTok, the results are temporary but you will see them if you keep up with application. Since the caffeine within the formula contains anti-inflammatory properities, this will not only help soothe the under eye area, but also aim to reduce the look of redness, brown spots and dark circles. It can be used day and night or you can just use it in the morning to give your eyes a boost.
Is Caffeine Bad for the Under Eyes?
Caffeine eye creams can actually be beneficial for your under eyes depending on what you’re looking to achieve. Since the ingredient helps shrink the size of red blood vessels, this will help minimize color pigmentation as well as soothe your under eye area for a smoother and more awake appearance.
For more product recommendations, check out our roundups of the best sunscreens, TikTok beauty dupes and stress relieving tools.
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Source: NurPhoto / Getty / TikTok
Following President Biden keeping his promise and signing the bill that could ban TikTok in the United States, the social media platform is suing in hopes of keeping that from happening.
Spotted on the AP, TikTok and its China-based parent company ByteDance sued the US Government, challenging the law and calling for the potential banning of the popular video-sharing app and most young adults’ source of “news” if it fails to find a US-approved buyer.
ByteDance has nine months to find a buyer and gets a three-month grace period if it finds a US-approved buyer.
The lawsuit claims the US Government’s law is an attack on free speech that has never been done before and unfairly singles out TikTok.
Per The AP:
In its lawsuit, ByteDance says the new law vaguely paints its ownership of TikTok as a national security threat in order to circumvent the First Amendment, despite no evidence that the company poses a threat. It also says the law is so “obviously unconstitutional” that its sponsors are instead portraying it as a way to regulate TikTok’s ownership.
“For the first time in history, Congress has enacted a law that subjects a single, named speech platform to a permanent, nationwide ban, and bars every American from participating in a unique online community with more than 1 billion people worldwide,” ByteDance asserts in the lawsuit filed in a Washington appeals court.
President Biden signed the law as part of a larger foreign aid package. This law is the first time the US has imposed a potential ban on a single social media company.
Advocates of free speech argue that the law is similar to the behavior of oppressive regimes like China, which is ironic because the US is trying to keep US citizen’s private data out of the hands of the Chinese government.
More Details From TikTok’s Lawsuit
The lawsuit states that ByteDance has no intention of selling TikTok, which aligns with reports that the company prefers a ban over a sale. However, if it did, ByteDance would need Beijing’s blessing to make that happen.
Another sticking point is TikTok’s algorithm, which has been the “key to the success of TikTok in the United States,” which the Chinese government “made clear” in its lawsuit would be part of any sale.
According to both entities, the new law would force them to shut down in the US by Jan.19 because operating in the US would be technologically and legally impossible.
The lawsuit also claims that a US-only version of TikTok would be technologically impossible because there would be no “operational relationship” between the US TikTok app and the Chinese company.
While we don’t know what TikTok’s fate will be, one thing is for sure: This will be a long, drawn-out situation.