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Warner Music Appoints Janelle Curtis as Chief Enterprise Transformational Officer

Janelle Curtis, a veteran of the banking industry, has joined Warner Music Group as its new chief enterprise transformation officer. As CETO, Curtis will zero in on “business structures, processes, and digital solutions” to assist in what the label describes as its “tech-enabled evolution.”

Curtis most recently held the title of managing director, global head of process automation, within global operations at Bank of America. Prior to BoA, she spent seven years at Goldman Sachs and before that held various posts at Citi, Chase and HB Curtis & Associates.

While Curtis is the first WMG exec to carry the CETO title, it actually replaces the position currently held by Gary Smerdon, evp, business transformation, who is retiring in February after more than 30 years at the company.

“We began our search for Janelle last year, after Gary Smerdon informed me of his decision to retire,” WMG CEO Steve Cooper wrote in an internal note to staff. “When Gary leaves in February, he’ll take with him our deepest gratitude and respect for over 30 years of outstanding service to our company, people, and artists… His good-spirited, pragmatic, solutions-focused approach will be greatly missed.”

Curtis is based in New York City and reports directly to Cooper, who in an official announcement touted her “fresh perspective and technical expertise” as reason she’ll be a “tremendous catalyst for growth as we create our future and lead our industry.”

Cooper said that “as a company that thrives at the intersection of pioneering creativity and disruptive technology, we need a unified approach to our innovation and execution on a global scale. It’s also important we constantly evolve our use of emerging and best-in-class platforms to supercharge our support of our artists, songwriters, and teams, as well as our consumers and partners.”

In a statement, Curtis noted that the “explosion in digital business models and data insights makes it essential for us to find the right balance between agile global strategy and sophisticated localized delivery” and touted the label group’s “ambitious plans for using transformational technologies to serve artistry, music, and commerce.”

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Ryan Trey Is Ready To End His ‘Underrated’ Phase

If there were to be a film made about Ryan Trey’s life, he’d want the opening scene to take viewers through a long, beautiful drive through his home city of St. Louis. Between its glittering city lights and serene landscapes, it would be easy to fool someone with the façade. Then, he would want to delve into what’s really going on. 

“It’s really not all as it seems — it’s almost like a mask,” he tells Billboard. “The way it looks is completely different from what’s actually going on. The things that are happening, the violence, and the things people go through personally [that] if the movie were to keep going, it would turn into an action movie.” 

By the time Trey reached his early twenties, the R&B/hip-hop artist had already racked up millions of streams, couch-hopped for months in Los Angeles, was featured in BAPE and Reebok’s new Club C and Instapump Fury collaboration campaign, and grabbed a rare co-sign from Bryson Tiller. If there’s one thing Trey has remained throughout all of these chapters, it’s self-aware — particularly of the numbness that’s creeping up on him with his increasing fame, and the way the hurt from his past is affecting his current actions.

He’s chronicling these life lessons for his listeners on his recent project, A 64 East Saga. The title is a reference to all of his late-night drives on I-64, where a majority of his breakups, phone calls-turned-fights and anticipation before wild nights with his crew took place. After some time, he started to prefer the silence of these drives.

“It clicked for me later on that you should embrace being alone, because it’s only temporary,” he says. “There will come a time where everyone is going to want to be around me doing what I want to do, wear what I’m wearing, sing what I’m singing. Let me embrace this loneliness right now, because it’s not going to last.” 

This month, Trey will kick off his A 64 East Saga Tour, as he takes the stage in Los Angeles on Jan. 20 and New York City on Jan. 25. He recently sat down with Billboard to discuss the meaning behind A 64 East Saga, growing pains, his progression as an artist and more.

A 64 East Saga is a clear reference to a highway. What’s the significance behind this specific route and the value it holds in your journey?

It’s the main highway that you take, and it goes all the way from Memphis to Chicago. Actually, it probably goes even further than I even know, because I was in Virginia for an HBCU tour recently, and we saw 64 East there. The heart of it runs straight through the middle of St. Louis. Anywhere you need to go, no matter what age, no matter what you’re doing, you have to take that highway. 

All the experiences I’m trying to get off my chest on this project came from things that I did in that city that involved me having to take that road. Whether it was going to see different girls, them blasting me on the phone, me crying on the highway, me going to see my guys, parties, all of that, everybody knows I wanted to pay homage to my city before I did anything else in my career.

Although my fans love the project, it was really about paying homage to the people I know at home — people who know exactly what that highway means and the significance behind it. 

It’s been over three years since you released your last project, august. What would you say is the biggest difference you see in yourself since then?

The innocence is gone. I remember writing august during my first big breakup. We were together for five years and she was my best friend. It was the first time I experienced someone betraying me like that, so it was more about me asking, “Why?” Now, being in the game and building my own confidence, being around my guy Bryson Tiller and seeing a lot of different types of people, it really exposed me to sinning and toxicity. 

I feel like it helped me and hurt me because it made me numb to certain things. At the same time, I also kind of miss being that kid who thought everything could be perfect. I approach things with that numb type of perspective now. I really don’t think twice about some decisions and I’m just living. Kind of sad when you think about it, but at the same time, it’s what made 64.

What’s the verse or song on A 64 East Saga that most accurately portrays your message?

“64 Interlude,” because it comes from a real story where I was at a party and I only went because I needed to blow off some steam after getting into it with my girl. Her friends saw me there and I had to come up with the master escape plan. That’s the story of my life, and a lot of artists who are trying to balance who they’re becoming and maintain a relationship. That whole record, there’s certain lines in there where it sums up me still trying to portray that innocence that’s not there anymore to someone I’m doing wrong. 

There were times where I’d be caught in the act and I’m still being manipulative afterwards. It’s weird now, because I’m almost becoming the person who hurt me on august. Does that even make sense?

It does make sense. You know how they say, “hurt people will hurt people”?

Exactly, and I don’t like that about myself. In the moment, I don’t realize it and then I feel bad afterwards and that verse really portrayed that. Even though I did something that I wasn’t supposed to do, I still tried to flip it on you. That was the best verse on the project because it was so real.

When I heard the opening of that song, the “This what happen when I…” part, it immediately reminded me of Bryson Tiller’s infamous intro lyrics on “Exchange.” Was that intentional?

I didn’t intentionally mean for that to sound that similar, but if that’s the record where I pay homage to Bryson, then that’s great, honestly. Bryson is someone who really opened a lot of doors for me. I don’t ever mind the constant comparisons, because it’s just human nature to compare artists to the closest similar thing to them at first.   

For example, I love Don Toliver, but it took me this most recent project he just dropped for me to completely separate him from Travis Scott. It’s just human nature. So I’m never bothered by the comparisons because even I do it as a fan. 

Tiller really opened the doors for vulnerability. He says things that people were thinking but didn’t really want to say. He told me this quote one day: “Good artists take, great artists steal.” Good artists try to take and copy the legends and recreate what they’ve already done. I think the best artists know how to just get inspiration, like a painter or a basketball player, and apply it to yourself. 

You’ve mentioned before that you “prefer loneliness.” Between that and naming your project after your late-night drives, I’m getting the feeling that this might be an important theme in your life right now. 

That’s really what 64 is, in summary. It’s been a long time since there’s been a project out that I can solely ride at night to. I said it in one of my trailers that when you’re alone in the car at night, that’s when you’re the most vulnerable. I know everyone has been through that. Being alone and being in your feels. All the emotions are on display when you’re by yourself. 

64 was for making a sound for my generation that you could really tap into that specific vibe to. Everything is super lit right now and I love it, but I also wanted to give the other side of the spectrum of being alone. When I was writing 64, I would be going out of my way to see people and do things that weren’t really in my element at the time, because I just didn’t want to be lonely. 

Have there been any other growing pains that have come as a part of this journey?

It’s a lot of new “cousins” I’ve gotten recently. I remember back in 2017, before I met my manager and before I met anybody in the industry, we were couch-hopping. At the time, there was nobody around to give me a place to stay or eat. We were sleeping in cars at one point. Now, I have so many “cousins” in Los Angeles who hit me up that I didn’t know about. That’s not really family to me. 

Another growing pain is going through the “underrated” phase. I’m just as good as, if not better than, my peers. That work ethic that I have to have to prove that. I see a lot of tweets that are like, “Ryan Trey is so underrated.” I remember seeing that before for some of my favorite big artists today. The pride in me and competitiveness in me is like, “Wow, I can’t wait.” For now, I’m just keeping my head down and working, because I know it will come in due time.

What has been the most rewarding moment of your career so far?

Seeing my fans telling me that I really executed on this recent project. We were going to drop it last year, but with the pandemic, we didn’t think it was the best idea to drop new music while nobody was outside. We waited a year to drop it and to get reactions like, “You did exactly what you had to do,” or “This is exactly what we needed.” That’s the most fulfilling feeling.

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‘Baby Shark’ Reaches Milestone 10 Billion Views on YouTube

Baby Shark” has taken a big bite out of the competition! The video for the infectious children’s tune from Pinkfong passed the 10 billion mark on Thursday (Jan. 13), increasing the gap between it and No. 2 video, Luis Fonsi’s “Despacito” featuring Daddy Yankee.

“We are delighted to announce that our beloved Baby Shark has recorded another remarkable milestone,” Min-seok Kim, CEO of “Baby Shark” creator The Pinkfong Co., said in a statement. “It has been a truly meaningful journey to witness how Baby Shark has connected people around the world, and we can’t wait to introduce Baby Shark’s further adventures that will bring unparalleled experiences to even more fans everywhere.”

The hit video was released in June 2016, and gained a foothold thanks to a viral dance challenge. It debuted on the Billboard Hot 100 at No. 32 — the song’s peak — on the Jan. 12, 2019, tally. On Billboard’s global charts dated Nov. 28, 2020, it peaked at No. 38 on the Global 200, and No. 36 on the Global Excl. U.S.

Also in November 2020, the video reached 7.04 billion views to surpass 2017’s “Despacito,”  becoming the most viewed YouTube video of all time. (At press time, the Luis Fonsi and Daddy Yankee collab boasts 7.7 billion views.) The same month, “Baby Shark” was certified 11-times multi-platinum by the RIAA.

Since “Baby Shark” first swam into the internet’s consciousness, it has also gained numerous celebrity fans. James Corden covered the song — with Sophie Turner and Josh Groban lending a hand — in 2018, while Bebe Rexha, John Legend and daughter Luna, Celine Dion and more taking on the catchy tune in 2019.

Since the popularity of “Baby Shark” exploded, there has also been a massive 100-date tour in 2019, the launch of Nickelodeon’s pre-school series Baby Shark’s Big Show early in 2021, and a six-piece NFT collection in December 2021. Nickelodeon has also announced that it is developing a feature film around Baby Shark.

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Muse Taps Into Their Metal Side With Eerie ‘Won’t Stand Down’ Video: Watch

Muse has made their official return to music. The British rock band released the video for their newest single, “Won’t Stand Down,” on Thursday (Jan. 13).

The dark visual offers a look at the beginning of a possible uprising: A revered figure, Kueen, is rolled into a warehouse and wheeled onto a platform before an army of metal mask-wearing disciples. Loyal assistants aid with hooking up metal attachments to the leader’s arm, which controls the army of disciples and makes the army dance and march at will. The video reaches a crescendo with frontman Matt Bellamy’s metal-influenced vocals, with lights flashing in the area like a gloomy rave.

“Won’t stand down/ I’m growing stronger/ Won’t stand down/ I’m owned no longer/ Won’t stand down/ You’ve used me for too long, now die alone,” Bellamy sings on the chorus.

“’Won’t Stand Down’ is a song about standing your ground against bullies, whether that be on the playground, at work or anywhere,” Bellamy said in a statement. “Protecting yourself from coercion and sociopathic manipulation and to face adversity with strength, confidence and aggression.”

Following the premiere of “Won’t Stand Down,” the group shared a snippet of the visual to their Instagram page and shared that they were excited for the next chapter of their music. “Been counting down the days…we’re excited to share what we’ve been working on with you. Enjoy everyone! Matt, Chris & Dom,” the group wrote.

“Won’t Stand Down” is the first offering in nearly four years. In May 2020, Bellamy spoke with Rolling Stone and revealed that the pandemic gave him and bandmates Chris Wolstenholme and Dominic Howard time to work on music, both solo (with Bellamy’s “Tomorrow’s World” at the time) and as a group. “We’re planning on getting together, ideally in the place we all came together, Devon in Southwest England, and sort of get back to our original ways,” he said at the time. “And even get back to the way we originally used to make music by meeting a couple of times a week to rehearse. The idea was to do that in 2021.”

Bellamy teased a possible record release for this year, and told the publication, “If that goes well, get an album or a bunch of songs together and potentially hit the road again in 2022.”

Muse has yet to give a formal album announcement, but their previous full length album — Simulation Theory — was released in 2018. The album peaked at No. 12 on the Billboard 200 and spent a total of six weeks on the chart.

Watch the video for “Won’t Stand Down” below.

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Didier Morais Launches Public Relations Agency Vital Versatility

Veteran publicist Didier Morais has launched a new public relations agency, called Vital Versatility. The new venture will specialize in bridging the intersection of music, entertainment, sports, lifestyle, business and social justice through communications.

“I take great pride in highlighting my clients’ versatility as entrepreneurs, philanthropists, entertainers and look forward to amplifying their narratives in compelling, comprehensive, and creative ways,” said Morais.

The Syracuse University graduate formerly served as vp of music and entertainment at Berk Communications, where he helped build the music department and spearheaded global media relations and reputation management campaigns. Morais also led publicity efforts for the #FreeMeek campaign and organized the press conference launch of REFORM Alliance, the criminal justice reform organization co-founded by Meek Mill, Michael Rubin, Robert Kraft, Jay-Z and more.

Vital Versatility’s client roster already includes Megan Thee Stallion, Van Jones, Fat Joe, Yo Gotti and his record label CMG and more.

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Maren Morris Announces Third Album ‘Humble Quest’: ‘Here Are the Stories of My Rises’

Maren Morris has revealed that her upcoming third album, Humble Quest, will arrive March 25. The 11-track album follows her 2019 project Girl, which included Billboard Country Airplay No. 1 hit “Girl,” as well as the two-week No. 1 “The Bones.”

On social media, Morris shared images of the Humble Quest album cover and tracklist, as well as a lengthy letter giving fans insight into the album. “‘What do you write about when the show can’t go on?’” she wrote. “I think every songwriter in the world had a few months of  that question at the beginning of the pandemic.”

Morris shared the fear — and relief — she felt as she watched areas of her life became out of her control.

“For the first time in many years I was not in control. I wasn’t in control of the fate of my career, or of taking care of all my people without the promise of touring, or even of my body ‘snapping back’ after giving birth to my first child,” she shared. “To my surprise, I felt not only fear, but a huge sigh of relief when I realized I was never really in control. None of us were. That realization was a brutal and beautifully humbling catharsis of this chapter. I could finally loosen my white-knuckled grip on my fake ‘togetherness’ and sit with my broken heart for a year.”

Morris also offered consideration regarding one of the words in the album’s title: “Humble.”

“It turns out, the pandemic did humble me. Shooting my mouth off one time too many humbled me, the death of a beloved friend and producer humbled me, motherhood and marriage humbled me. ‘Humble’ began to feel more like a grounded state of understanding oneself; not so much by being relatable to or understood by all. What I also discovered is that the songs I was managing to compose during this time were the most authentic and light lyrics that have ever flowed from my pen. They weren’t fitting with the times, they were distracting and eventually saving me from the times. So here are the stories of my rises, my overshares, my appreciation of Midwestern guys who stand at least a foot taller than me, my lullabies, my wine-soaked conversations with a dear friend and my final goodbye to one.”

Just days ago, Morris released the first single from the 11-song album,  “Circles Around This Town,” an unflinching look at her early career days in Nashville. Humble Quest is produced by Greg Kurstin, a co-writer on “Girl” and a co-producer on the Girl album.

See her announcement, the full letter, and tracklist in her post below:

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Roberta Flack Says ‘Vaccines and Boosters Work’ After COVID-19 Battle

R&B legend Roberta Flack is encouraging unvaccinated fans to get the jab after chronicling her own battle with COVID-19. In a statement released on Thursday (Jan. 13), Flack, 84, said that she tested positive for the novel coronavirus in early January and that she’s glad she’d already gotten the full course of shots.

“However, the vaccines and booster worked and protected me from severe illness or hospitalization,” said Grammy-winner Flack, best known for such No. 1 hits as 1973’s “The First Time Ever I Saw Your Face” and 1974’s “Killing Me Softly With HIs Song.”

“Instead, I was ill with fatigue, fever, and slight congestion. I stayed home to rest and recover,” Flack added. “Today I feel much better. I am at home and isolating until I retest and receive a negative test this week. I can testify: vaccines and boosters work. If you are not vaccinated, please do so.”

Flack’s encouragement to get vaccinated and boosted comes as the nation, and the world, deal with the fast-spreading Omicron variant, which has lead to record-high infection rates in the U.S. The surge is contributing to massive strains on health care and education, with a number of districts going back to online learning as they deal with unprecedented numbers of infected students and teachers and dozens of tours and festivals canceling and postponing dates in the midst of the wave.

And she is not alone in speaking out about her own COVID battle and the importance of getting the shot. Last week singer/songwriter Jason Isbell revealed his own fight with a breakthrough case, writing, “Lotta sinus drainage type stuff, scratchy in my throat and some muscle aches but no cough or breathing issues fyi. Boosted and very grateful for it.”

Among the other stars recently revealing their positive tests are John Mayer, LL Cool J and Kiss’ Paul Stanley, who cataloged his second round of COVID in late December, six months after first contracting the coronavirus. My entire family has it. I’m tired and have sniffles,” he captioned a closeup photo of himself. “Most of my family have absolutely no symptoms. Do as you choose. I’m so glad I’m vaccinated.”

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Röyksopp share immersive new track ‘The Ladder’

Röyksopp have dropped off their second new track in two weeks – you can listen to ‘The Ladder’ below.

The Norwegian electronic music outfit launched an official Instagram account last month, teasing a forthcoming project and encouraging fans to “Press R” in order to discover new music.

Soon after, on New Year’s Day (January 1), the duo shared a new two-minute song titled ‘(Nothing But) Ashes…’. No further info was disclosed.

Now, they’ve returned with yet another record, the extremely immersive ‘The Ladder’. The track comes alongside a Jonathan Zawada-directed visualiser, which you can watch below.

Röyksopp’s last album, ‘The Inevitable End’, was released in 2014, although they’ve released a number of remixes, collaborations and monthly “lost tapes” obscurities since then. At the time of ‘The Inevitable End’’s release, the group said it would be their final album.

“We feel like this is a goodbye to the traditional album format,” they said in a press release at the time. “In our consecutive run of albums, we have been able to say what we want to say and do what we want to do with the LP. We’re not going to stop making music, but the album format as such, this is the last thing from us.”

Fans have speculated that what Röyksopp are teasing could be a new album, although the duo have given no indication at present that they want to return to making full-length records.

In 2016, Röyksopp returned with a new track called ‘Never Ever’, a one-off single that marked their first release since ‘The Inevitable End’.

The post Röyksopp share immersive new track ‘The Ladder’ appeared first on NME.

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Nicki Minaj dropped from husband Kenneth Petty’s harassment lawsuit

Nicki Minaj has been dropped from a lawsuit originally filed against her and her husband Kenneth Petty for harassment.

Jennifer Hough accused Petty of sexual assault in 1994 and filed a lawsuit last year against Petty and Minaj, accusing them of “witness intimidation, intentional infliction of emotional distress, harassment” and other charges. She is also suing Petty for sexual assault and battery in relation to the 1995 conviction.

Hough alleged Petty raped her at knifepoint in 1994, when they were both 16 years old. Petty was charged with first-degree attempted rape the following year, and pleaded guilty to attempted rape.

He spent time in prison as a result but in March 2020, was charged with failing to register as a sex offender in California after moving from New York to the West Coast in 2019. These later charges were eventually dropped but federal charges were then brought, which resulted in Petty accepting a plea deal.

According to TMZ, the lawsuit filed by Hough against Minaj was voluntarily dismissed on Wednesday (January 12), though Petty remains a defendant. No reason was given for the dismissal.

Hough alleged that in 2020, shortly after Petty’s arrest, Minaj called her and offered to fly her and her family to Los Angeles, or Minaj’s publicist out to Hough. Hough said she declined and claims that within days, she and her family “suffered an onslaught of harassing calls and unsolicited visits”, including various offers of payment if she signed a statement recanting her original allegations against Petty. According to the New York Times, Hough alleged she was offered sums of $500,000 and $20,000.

“What they tried to do to Nicki was disgraceful,” Minaj’s attorney Judd Burstein told Vulture. “They finally realized that they had to surrender without Nicki paying a penny. And now, Nicki and I are going to make them pay for this in the courts.”

“We have the right, under the law, to seek what are known as sanctions, which would require them to pay Nicki’s legal fees – which are substantial,” he added.

For help, advice or more information regarding sexual harassment, assault and rape in the UK, visit the Rape Crisis charity website. In the US, visit RAINN.

The post Nicki Minaj dropped from husband Kenneth Petty’s harassment lawsuit appeared first on NME.

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Offset Field Tests The Black Colorway Of The adidas YZY NSLTD Boot

By no small margin, the adidas YZY NSLTD Boot is the brand’s most divisive silhouette. And while some would rather it destroyed, others — such as notable figures like Kerwin Frost, Justin Bieber, and the like — are excited to see what other colorways Ye has in store. One such upcomer is a simple black pair, which has just appeared in the snow courtesy of fashion enthusiast Offset.

A field test of sorts, the artist has taken the NSLTD Boot seemingly deep into the woods. Compared to its last appearance on the court, the shoe is much easier to see thanks to the available flash. The upper, much like a puffer jacket, shines thanks in part to its synthetic material, which also helps prevent the snow from permeating any deeper than the surface. Below, the sole appears far darker, with lighters hits along the three circular windows.

Enjoy a look at the colorway yourself below. It’s likely we’ll hear official word on the release date very soon.

In other news, Nike may be firing unvaccinated employees.

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Issa Rae’s Raedio Label Teams With Google for Emerging Artists Program: Exclusive

Issa Rae‘s Raedio label has partnered with Google to launch a new emerging artists programBillboard is exclusively announcing on Thursday (Jan. 13).

The Raedio Creator Program Supported by Google is designed to provide underrepresented independent artists with more resources as well as bring more representation of women of color in the music industry, which the actress critiqued in a now-viral Los Angeles Times interview. “It’s probably the worst industry that I have ever come across. I thought Hollywood was crazy. The music industry, it needs to start over,” Rae said. “Conflicts of interest abound. Archaic mentalities. Crooks and criminals! It’s an abusive industry, and I really feel for artists that have to come up in it.”

She started Raedio — “an audio everywhere company” with a record label joint venture with Atlantic Records and four more branches dedicated to publishing, live events, music supervision and a music library — in October 2019. Rae’s venture into the music business has proven fruitful in breaking new, mostly female and/or POC artists in the R&B and hip-hop space, including Baby Tate and TeaMarrr.

“This partnership is perfectly aligned with my mission in helping open doors and provide opportunities for women to succeed and flourish in their craft,” Rae said in a statement to Billboard. “I can’t wait to see the impact this program and partnership has on the selectees and the music that is created as a result.”

The Raedio Creator Program Supported by Google will select two female artists and two composers to receive funding and resources to create and retain full ownership of their music. The funding from Google will cover recording fees, producer costs and marketing expenses for the female artists to put out a three-to-five song EP. The Raedio record label branch will supervise and distribute the projects, which will be available on all digital service providers (DSPs). The songs from each EP will be added to Raedio’s music library so that they can be pitched for sync opportunities. Google will also fund the production and development of one music video for each artist.

Google’s funding specifically dedicated to the two composers will cover recording and artist collaboration costs for a series of collections for TV, film and brand syncs. The Raedio music supervision branch will search for opportunities to place the composers’ original songs in various Hollywood projects.

“We are proud to create these four grants in partnership with Raedio with a goal of underscoring the importance in providing access and opportunity for women of color pursuing audio careers within the entertainment industry,” said Elle Roth-Brunet, Google’s entertainment partnerships lead, in a statement. “This program is an extension of Google’s dedication to championing diversity within the entertainment industry and we look forward to hearing the artistic contributions of all who participate.”

Rae has given emerging and established artists opportunities to secure lucrative sync placements by placing their music in her hit HBO series Insecure, which came to an end last month after a successful five-season run. In an interview with Billboard last fall, Raedio president and Rae’s longtime business partner Benoni Tagoe described the show as “the starting point, but it’s definitely not the finish line” for artists signed to Raedio, which has been working on music supervision for series such as Epix’s Godfather of Harlem, Starz’s Power and Rae’s upcoming HBO Max series Rap Sh*t about two struggling rappers in Miami, which is co executive-produced by City Girls.

“We are proud to partner with Google to support women in music,” adds Tagoe. “As an audio everywhere company, Raedio places artists’ work in as many places where music is consumed as possible, increasing their visibility among fans and consumers, in turn increasing their earning potential. Raedio Creator Program Supported by Google is another way for us to do this by providing a platform, tangible resources, mentorship, and amplification for aspiring talent. We look forward to selecting the final artists and composers and supporting them in their musical journeys.”

Artists and composers can begin submitting their work for consideration in the Raedio Creator Program Supported by Google starting in February. Recipients will be announced in March.

The partnership was brokered by UTA Marketing, the brand consulting division of UTA, which represents Google.

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