<![CDATA[Music Industry Press Releases - 2025]]> https://www.musicindustrypressreleases.com/press-releases/ Thu, 16 Apr 2026 02:12:38 +0000 MyBB <![CDATA[Korean Brit Pop It's a thing. And HOA do it]]> https://www.musicindustrypressreleases.com/press-releases/showthread.php?tid=23 Sat, 03 Jan 2026 14:34:53 +0000 MIPR]]> https://www.musicindustrypressreleases.com/press-releases/showthread.php?tid=23 Written by Charles Moss | July 15, 2025 - 7:30 am

[Image: HOAProfile_01-resized-1668x1112.jpg]

I don’t remember how I discovered the British-invasion-inspired band HOA, but I was confused when I came across one of the group’s 2024 singles, “Tomorrow and Tomorrow (I Love You).” The music sounded uncannily like the Beatles and the band even looked like them. 

In the video, HOA are huddled together in a cramped living room, pink and green floral curtains behind them. The drummer sits behind a simple snare drum and high hat, the lead guitarist playing what appears to be a red Gretsch sitting on the couch, the rhythm guitarist on acoustic, and the bassist playing what looks like a Höfner violin bass.

But one distinctive factor: they are Korean. Were they lip synching? They sounded so Beatles-like, with those early-’60s melodic harmonies and tight musicianship. It turns out, no, they were not lip synching at all.

I don’t remember how I discovered the British-invasion-inspired band HOA, but I was confused when I came across one of the group’s 2024 singles, “Tomorrow and Tomorrow (I Love You).” The music sounded uncannily like the Beatles and the band even looked like them. 

In the video, HOA are huddled together in a cramped living room, pink and green floral curtains behind them. The drummer sits behind a simple snare drum and high hat, the lead guitarist playing what appears to be a red Gretsch sitting on the couch, the rhythm guitarist on acoustic, and the bassist playing what looks like a Höfner violin bass.

But one distinctive factor: they are Korean. Were they lip synching? They sounded so Beatles-like, with those early-’60s melodic harmonies and tight musicianship. It turns out, no, they were not lip synching at all.

“The sound of that era, as I hear it now…is incredibly fascinating,” says Kyumock. “It feels wonderfully vintage yet undeniably sophisticated — a captivating blend of classic and trendy elements.”

HOA’s Beatles covers have modest viewership on YouTube, but their original songs have tens of thousands of views.

“Many people have said this is music they can enjoy with their grandfather and father,” says Jinhwa. “Imagining multiple generations dancing and singing together in one place through our music makes me incredibly happy.”

The band had its first overseas performance at Jakarta’s Lalala Festival last year and plans on touring more in 2025, along with releasing more singles before doing a full-length album.

“If Paul or Ringo were to come across our videos, I’d be delighted,” says Kyumock. “It would be wonderful to remind them they are still revered and influential musicians among younger generations here in East Asia.”

https://youtu.be/kRlb3L0rTfE

https://www.spin.com/2025/07/hoa-korean-brit-pop/]]> Written by Charles Moss | July 15, 2025 - 7:30 am

[Image: HOAProfile_01-resized-1668x1112.jpg]

I don’t remember how I discovered the British-invasion-inspired band HOA, but I was confused when I came across one of the group’s 2024 singles, “Tomorrow and Tomorrow (I Love You).” The music sounded uncannily like the Beatles and the band even looked like them. 

In the video, HOA are huddled together in a cramped living room, pink and green floral curtains behind them. The drummer sits behind a simple snare drum and high hat, the lead guitarist playing what appears to be a red Gretsch sitting on the couch, the rhythm guitarist on acoustic, and the bassist playing what looks like a Höfner violin bass.

But one distinctive factor: they are Korean. Were they lip synching? They sounded so Beatles-like, with those early-’60s melodic harmonies and tight musicianship. It turns out, no, they were not lip synching at all.

I don’t remember how I discovered the British-invasion-inspired band HOA, but I was confused when I came across one of the group’s 2024 singles, “Tomorrow and Tomorrow (I Love You).” The music sounded uncannily like the Beatles and the band even looked like them. 

In the video, HOA are huddled together in a cramped living room, pink and green floral curtains behind them. The drummer sits behind a simple snare drum and high hat, the lead guitarist playing what appears to be a red Gretsch sitting on the couch, the rhythm guitarist on acoustic, and the bassist playing what looks like a Höfner violin bass.

But one distinctive factor: they are Korean. Were they lip synching? They sounded so Beatles-like, with those early-’60s melodic harmonies and tight musicianship. It turns out, no, they were not lip synching at all.

“The sound of that era, as I hear it now…is incredibly fascinating,” says Kyumock. “It feels wonderfully vintage yet undeniably sophisticated — a captivating blend of classic and trendy elements.”

HOA’s Beatles covers have modest viewership on YouTube, but their original songs have tens of thousands of views.

“Many people have said this is music they can enjoy with their grandfather and father,” says Jinhwa. “Imagining multiple generations dancing and singing together in one place through our music makes me incredibly happy.”

The band had its first overseas performance at Jakarta’s Lalala Festival last year and plans on touring more in 2025, along with releasing more singles before doing a full-length album.

“If Paul or Ringo were to come across our videos, I’d be delighted,” says Kyumock. “It would be wonderful to remind them they are still revered and influential musicians among younger generations here in East Asia.”

https://youtu.be/kRlb3L0rTfE

https://www.spin.com/2025/07/hoa-korean-brit-pop/]]> <![CDATA[The Weeknd Closes Catalog Partnership With Lyric Capital Said to Be in $1 Billion Ran]]> https://www.musicindustrypressreleases.com/press-releases/showthread.php?tid=22 Sun, 28 Dec 2025 20:07:19 +0000 MIPR]]> https://www.musicindustrypressreleases.com/press-releases/showthread.php?tid=22 By Jem Aswad

[Image: The-Weeknd-2.jpg?w=1000&h=667&crop=1]

The Weeknd and Lyric Capital Group have closed a deal forming a business venture together wherein Lyric has invested in the artist’s music catalog from inception through 2025, reps for the artist confirm to Variety. The deal sees the Weeknd — real name: Abel Tesfaye — and his team maintaining creative control over the catalog and remaining shareholders and owners in the company.

The rep notes that the joint venture is not a conventional catalog sale: “From the beginning of the meeting, it was clear to all at Lyric that Abel would not sell his catalog. He wanted to be more innovative and creative in the way we established a partnership. To that end, through this venture, we constructed and launched a new business model with Abel and his iconic catalog whereby Abel and his team have the freedom to execute their creative vision with the entirety of his rights, both publishing and masters. This unique catalog deal sets a new standard for artist equity and control.”

The venture applies only toward the Weeknd’s music masters and publishing through 2025 and does not include any future releases. The Weeknd continues his partnership with XO/Republic/Universal Music Group; his publishing catalog has been and continues to be administered by Universal Music Publishing Group.

The rep added that because the deal is not a conventional catalog purchase it is impossible to calculate a royalty multiple. However, Variety sources and reports in Billboard and Bloomberg earlier this year stated that the assets were going for at least $1 billion based on about $55 million in net label and net publisher share, which implies an 18.2 times multiple.

Reps for the Weeknd and Lyric declined to confirm any numbers to Variety, but if accurate, it is one of the biggest deals involving a single artist’s catalog in history, let alone for a contemporary artist — the only larger publicly acknowledged single-artist deal was Sony Music’s acquisition last year of the Queen catalog, valued at $1.27 billion.   

With more than 120 million monthly listeners on Spotify alone, the Weeknd is one of the world’s most popular recording artists. His ongoing “After Hours ‘Til Dawn” tour recently passed the $1 billion mark, setting a record for a solo male artist.

“There is no ABS or securitization deal here,” the rep continued. “Lyric created a first-of-its-kind structure with direct input from Abel and his team, which includes a first-of-its-kind ‘Royalty Backed Note’ — produced by Lyric, ft. Partners Group — that drastically enhances the artist-friendly theme that underpins this partnership.”

“I couldn’t be more excited about what Lyric, Abel and team have created together,” said Ross Cameron, Lyric founding / co-managing partner. “From our first meeting, it was clear to me that we were sitting around the table with individuals that were going to change the way an artist thinks about his assets, music and legacy. The collaboration resulted in a first-of-its-kind partnership between an artist and Lyric, and we are beyond thrilled about this new venture.”

“Lyric strives to create artist-friendly structures and we believe this partnership demonstrates that at the highest level with the top artist in the world. I want to thank Abel and his team for putting their trust in Lyric,” says Rich Garzia, Lyric co-managing partner.

Half of the Weeknd’s publishing rights were already owned by Chord Music Partners, backed by Universal Music Group and Dundee Partners.

Lyric Capital invests in music royalties and also owns Spirit Music Group, which controls catalogs from Tim McGraw, Jason Aldean, Ingrid Michaelson and others.

Variety will have more on this news as it develops.

https://variety.com/2025/music/news/the-...236608271/]]> By Jem Aswad

[Image: The-Weeknd-2.jpg?w=1000&h=667&crop=1]

The Weeknd and Lyric Capital Group have closed a deal forming a business venture together wherein Lyric has invested in the artist’s music catalog from inception through 2025, reps for the artist confirm to Variety. The deal sees the Weeknd — real name: Abel Tesfaye — and his team maintaining creative control over the catalog and remaining shareholders and owners in the company.

The rep notes that the joint venture is not a conventional catalog sale: “From the beginning of the meeting, it was clear to all at Lyric that Abel would not sell his catalog. He wanted to be more innovative and creative in the way we established a partnership. To that end, through this venture, we constructed and launched a new business model with Abel and his iconic catalog whereby Abel and his team have the freedom to execute their creative vision with the entirety of his rights, both publishing and masters. This unique catalog deal sets a new standard for artist equity and control.”

The venture applies only toward the Weeknd’s music masters and publishing through 2025 and does not include any future releases. The Weeknd continues his partnership with XO/Republic/Universal Music Group; his publishing catalog has been and continues to be administered by Universal Music Publishing Group.

The rep added that because the deal is not a conventional catalog purchase it is impossible to calculate a royalty multiple. However, Variety sources and reports in Billboard and Bloomberg earlier this year stated that the assets were going for at least $1 billion based on about $55 million in net label and net publisher share, which implies an 18.2 times multiple.

Reps for the Weeknd and Lyric declined to confirm any numbers to Variety, but if accurate, it is one of the biggest deals involving a single artist’s catalog in history, let alone for a contemporary artist — the only larger publicly acknowledged single-artist deal was Sony Music’s acquisition last year of the Queen catalog, valued at $1.27 billion.   

With more than 120 million monthly listeners on Spotify alone, the Weeknd is one of the world’s most popular recording artists. His ongoing “After Hours ‘Til Dawn” tour recently passed the $1 billion mark, setting a record for a solo male artist.

“There is no ABS or securitization deal here,” the rep continued. “Lyric created a first-of-its-kind structure with direct input from Abel and his team, which includes a first-of-its-kind ‘Royalty Backed Note’ — produced by Lyric, ft. Partners Group — that drastically enhances the artist-friendly theme that underpins this partnership.”

“I couldn’t be more excited about what Lyric, Abel and team have created together,” said Ross Cameron, Lyric founding / co-managing partner. “From our first meeting, it was clear to me that we were sitting around the table with individuals that were going to change the way an artist thinks about his assets, music and legacy. The collaboration resulted in a first-of-its-kind partnership between an artist and Lyric, and we are beyond thrilled about this new venture.”

“Lyric strives to create artist-friendly structures and we believe this partnership demonstrates that at the highest level with the top artist in the world. I want to thank Abel and his team for putting their trust in Lyric,” says Rich Garzia, Lyric co-managing partner.

Half of the Weeknd’s publishing rights were already owned by Chord Music Partners, backed by Universal Music Group and Dundee Partners.

Lyric Capital invests in music royalties and also owns Spirit Music Group, which controls catalogs from Tim McGraw, Jason Aldean, Ingrid Michaelson and others.

Variety will have more on this news as it develops.

https://variety.com/2025/music/news/the-...236608271/]]> <![CDATA[Rod Stewart and Prostate Cancer: How He Went Against, How He Survived, and More]]> https://www.musicindustrypressreleases.com/press-releases/showthread.php?tid=21 Tue, 23 Dec 2025 14:24:53 +0000 MIPR]]> https://www.musicindustrypressreleases.com/press-releases/showthread.php?tid=21 Written By Aharon Tsaturyan, MD

Rod Stewart (Sir Roderick David Stewart CBE), born on January 10, 1945, is a celebrated British rock and pop singer known for his distinctive raspy voice and an illustrious career spanning over five decades. With more than 120 million records sold, he is one of the best-selling music artists globally, famous for hits like “Maggie May” and “Do Ya Think I’m Sexy?” His music blends rock, folk, and soul, influencing generations of musicians. In 2016, Stewart was diagnosed with prostate cancer, a battle he initially kept private.

How Did Rob Stewart Get Diagnosed with Prostate Cancer?
In 2016, Sir Rod Stewart was diagnosed with prostate cancer during a routine medical check-up, a discovery that he initially kept private. The diagnosis came after he underwent a prostate-specific antigen (PSA) test, which indicated elevated levels.

Symptoms
He did not experience significant symptoms at the time, his proactive approach to health led him to seek regular screenings, highlighting the importance of routine medical check-ups in early cancer detection.

Prostate cancer develops slowly, and early stages may have no noticeable symptoms. As it progresses, common symptoms include urinary issues like frequent urination (especially at night), difficulty starting or stopping urination, weak or interrupted urine flow, and painful urination. Blood in the urine (hematuria) may also occur (Mayo Clinic). Sexual dysfunction, including difficulty maintaining an erection, pain during ejaculation, or blood in the semen, may also be present (National Cancer Institute). Pelvic and back pain, especially in the lower back, hips, or pelvic area, may signal bone spread. Other symptoms include unexplained weight loss and fatigue, indicating advanced disease (American Cancer Society). These symptoms can also be caused by conditions like benign prostatic hyperplasia (BPH) or infections.

What Were Rod Stewart’s Initial Reactions to His Diagnosis?
Stewart described the news as a “shock.” In an interview, he reflected on the fear and vulnerability he felt, stating,

“Needless to say, it was a shock… when you are so close to something that is potentially life-threatening, you tend to get your life in perspective.”

This realization prompted him to reassess his priorities and appreciate life more deeply. Stewart’s initial response to his diagnosis involved grappling with fear and uncertainty. He admitted feeling “fearful, vulnerable to a degree that I never had before,” a common reaction to serious health challenges. When it came to sharing the news, Stewart and his wife, Lady Penny Lancaster, kept it private for nearly three years. Penny later revealed they told their older children first, explaining, “We told the older ones… It would be too much for them [the younger ones] to understand.” This approach reflected their desire to manage the emotional impact on their family.

What was the Prognosis?
Sir Rod Stewart’s prognosis following his prostate cancer diagnosis was cautiously optimistic due to the early detection of the disease.The prognosis for prostate cancer can vary significantly based on several factors, including the stage at which it is diagnosed. In Stewart’s case, catching the cancer early was crucial. He later stated,

“I’m in the clear now, simply because I caught it early,”

Age and Risk: The risk of developing prostate cancer increases with age. About 1 in 8 men will be diagnosed with prostate cancer in their lifetime. It is rare in men under 40, but the risk rises significantly after age 50. Over 60% of prostate cancer cases are diagnosed in men aged 65 or older (American Cancer Society).

Survival Rates: Prostate cancer has a relatively high survival rate, especially when detected early. The 5-year relative survival rate for localized or regional prostate cancer is almost 100%. However, if the cancer spreads to distant parts of the body, the survival rate drops to about 30% (National Cancer Institute).

What Treatments Did Rod Stewart Undergo?
Sir Rod Stewart’s treatment plan for prostate cancer involved a three-month intensive course of radiation therapy. This approach was necessary because his cancer was aggressive and had spread beyond the prostate gland, making surgical removal unfeasible. His wife, Lady Penny Lancaster, explained that the treatment required Stewart to visit a London hospital daily for radiation sessions, which he managed alongside his busy music career. His famous quote,

“Guys, you’ve got to really go to the doctor… Finger up the bum, no harm done,”

reflects his humorous approach to destigmatizing prostate exams.

Radiation Therapy
Radiation therapy uses high-energy rays to target and kill cancer cells while minimizing damage to surrounding healthy tissues. There are two main types of radiation therapy for prostate cancer:

External Beam Radiation Therapy (EBRT): This involves directing radiation from outside the body toward the prostate.
Intensity-Modulated Radiation Therapy (IMRT): This advanced form allows for precise targeting of the tumor, adjusting the intensity of radiation to protect nearby organs.
Stereotactic Body Radiation Therapy (SBRT): This method delivers large doses of radiation in fewer sessions, often completed within a week.
Brachytherapy: This internal method involves placing radioactive seeds directly into the prostate. It can be used alone or in combination with EBRT for more advanced cases.
How Did Rod Stewart Overcome Prostate Cancer?
Following his diagnosis in 2016, he committed to a healthier diet and maintained regular physical activity, recognizing the importance of wellness in recovery. Throughout his journey, Stewart received unwavering support from his family, particularly his wife, Lady Penny Lancaster, who played a crucial role in helping him cope with the emotional challenges of cancer.

Support from Family and Friends
His wife, Lady Penny Lancaster, was particularly instrumental in providing comfort and encouragement throughout his journey. She openly discussed the challenges they faced together, emphasizing the importance of their bond during such a difficult time.In interviews, Stewart has acknowledged the vital role his family played in helping him through his diagnosis and treatment. He said, “I’m one of the lucky ones,” reflecting on how his loved ones’ support greatly impacted his emotional well-being. Having Penny by his side helped him maintain a positive outlook, as he noted,

“When you are so close to something that is potentially life-threatening, you tend to get your life in perspective.”

Stewart’s children also expressed concern, gently urging him to prioritize his health over his busy career. He acknowledged their worries, saying, “They want me to take it easy and enjoy my time with them,” emphasizing the importance of family connections. Stewart’s friends and colleagues in the music industry also offered encouragement, and he appreciated the overwhelming love from fans and fellow artists, which boosted his spirits during treatment.

Mental and Emotional Challenges
Sir Rod Stewart’s journey through cancer involved navigating significant mental and emotional challenges, including fears of recurrence and vulnerability. However, his positive mindset—bolstered by early detection awareness and strong family support—enabled him to cope effectively with these challenges. His experience has not only shaped his personal outlook but also inspired him to advocate for greater awareness around men’s health issues, demonstrating how resilience can emerge from adversity.

How Did Advocacy and Public Awareness Help?
Sir Rod Stewart has effectively used his platform as a global music icon to raise awareness about prostate cancer, leveraging his personal experience to inform and educate others about the disease. After being diagnosed in 2016 and successfully treated, he has become a passionate advocate for men’s health, particularly emphasizing the importance of early detection through regular screenings.

Public Speaking and Advocacy
Stewart revealed his battle with prostate cancer during a performance at a prostate cancer fundraiser with the Faces. Taking a moment to address the audience, he stated,

“Hi everyone, thank you so much for coming and I have to just take this moment, I owe it to everyone, I’m a survivor.”

This candid admission not only shared his personal journey but also served as a powerful message encouraging men to prioritize their health. Stewart also appeared on various talk shows, including Loose Women, where he and his wife, Lady Penny Lancaster, discussed his diagnosis and treatment. Penny emphasized the importance of regular screenings for men. Stewart’s openness on these platforms helped reach a broad audience, reinforcing the message of early detection.

Collaborations with Health Organizations
Stewart has been involved in campaigns that promote prostate cancer awareness, particularly targeting men over 50. He has advocated for men to request prostate-specific antigen (PSA) tests during routine check-ups. In interviews, he stated, “You can actually go and request to get a PSA blood test,” encouraging proactive health management.

What Is Rod Stewart’s Life Like After Cancer?
Post-treatment, Rod Stewart has continued to thrive both personally and professionally. After successfully battling prostate cancer, which he publicly revealed in 2019, he received the all-clear in July 2022. Stewart remains active in his music career, touring extensively and releasing new albums, such as The Tears of Hercules, while expressing a desire to transition into different musical genres beyond rock.

Ongoing Health Challenges
Stewart actively manages his health by maintaining a rigorous training schedule, working out three to four times a week, even while on tour. This commitment to physical fitness is crucial for his overall well-being and helps him cope with the demands of performing. He has described himself as a “workaholic,” indicating a strong desire to continue performing despite health challenges.

In August 2024, Stewart was diagnosed with strep throat and subsequently contracted COVID-19, which forced him to cancel several concerts. His wife, Lady Penny Lancaster, noted that these health setbacks have raised concerns about the long-term implications for his singing career.Additionally, following medical advice is essential for Stewart as he navigates these health issues. He has been cautioned against overexerting himself vocally during recovery from recent illnesses, as ignoring such advice could lead to chronic damage or complications affecting his voice.

Mental and Emotional Challenges
Sir Rod Stewart’s journey through cancer involved navigating significant mental and emotional challenges, including fears of recurrence and vulnerability. However, his positive mindset—bolstered by early detection awareness and strong family support—enabled him to cope effectively with these challenges. His experience has not only shaped his personal outlook but also inspired him to advocate for greater awareness around men’s health issues, demonstrating how resilience can emerge from adversity.

How Did Advocacy and Public Awareness Help?
Sir Rod Stewart has effectively used his platform as a global music icon to raise awareness about prostate cancer, leveraging his personal experience to inform and educate others about the disease. After being diagnosed in 2016 and successfully treated, he has become a passionate advocate for men’s health, particularly emphasizing the importance of early detection through regular screenings.

Public Speaking and Advocacy
Stewart revealed his battle with prostate cancer during a performance at a prostate cancer fundraiser with the Faces. Taking a moment to address the audience, he stated,

“Hi everyone, thank you so much for coming and I have to just take this moment, I owe it to everyone, I’m a survivor.”

This candid admission not only shared his personal journey but also served as a powerful message encouraging men to prioritize their health. Stewart also appeared on various talk shows, including Loose Women, where he and his wife, Lady Penny Lancaster, discussed his diagnosis and treatment. Penny emphasized the importance of regular screenings for men. Stewart’s openness on these platforms helped reach a broad audience, reinforcing the message of early detection.

Collaborations with Health Organizations
Stewart has been involved in campaigns that promote prostate cancer awareness, particularly targeting men over 50. He has advocated for men to request prostate-specific antigen (PSA) tests during routine check-ups. In interviews, he stated, “You can actually go and request to get a PSA blood test,” encouraging proactive health management.

What Is Rod Stewart’s Life Like After Cancer?
Post-treatment, Rod Stewart has continued to thrive both personally and professionally. After successfully battling prostate cancer, which he publicly revealed in 2019, he received the all-clear in July 2022. Stewart remains active in his music career, touring extensively and releasing new albums, such as The Tears of Hercules, while expressing a desire to transition into different musical genres beyond rock.

Ongoing Health Challenges
Stewart actively manages his health by maintaining a rigorous training schedule, working out three to four times a week, even while on tour. This commitment to physical fitness is crucial for his overall well-being and helps him cope with the demands of performing. He has described himself as a “workaholic,” indicating a strong desire to continue performing despite health challenges.

In August 2024, Stewart was diagnosed with strep throat and subsequently contracted COVID-19, which forced him to cancel several concerts. His wife, Lady Penny Lancaster, noted that these health setbacks have raised concerns about the long-term implications for his singing career.Additionally, following medical advice is essential for Stewart as he navigates these health issues. He has been cautioned against overexerting himself vocally during recovery from recent illnesses, as ignoring such advice could lead to chronic damage or complications affecting his voice.

https://oncodaily.com/stories/celebritie...art-cancer]]> Written By Aharon Tsaturyan, MD

Rod Stewart (Sir Roderick David Stewart CBE), born on January 10, 1945, is a celebrated British rock and pop singer known for his distinctive raspy voice and an illustrious career spanning over five decades. With more than 120 million records sold, he is one of the best-selling music artists globally, famous for hits like “Maggie May” and “Do Ya Think I’m Sexy?” His music blends rock, folk, and soul, influencing generations of musicians. In 2016, Stewart was diagnosed with prostate cancer, a battle he initially kept private.

How Did Rob Stewart Get Diagnosed with Prostate Cancer?
In 2016, Sir Rod Stewart was diagnosed with prostate cancer during a routine medical check-up, a discovery that he initially kept private. The diagnosis came after he underwent a prostate-specific antigen (PSA) test, which indicated elevated levels.

Symptoms
He did not experience significant symptoms at the time, his proactive approach to health led him to seek regular screenings, highlighting the importance of routine medical check-ups in early cancer detection.

Prostate cancer develops slowly, and early stages may have no noticeable symptoms. As it progresses, common symptoms include urinary issues like frequent urination (especially at night), difficulty starting or stopping urination, weak or interrupted urine flow, and painful urination. Blood in the urine (hematuria) may also occur (Mayo Clinic). Sexual dysfunction, including difficulty maintaining an erection, pain during ejaculation, or blood in the semen, may also be present (National Cancer Institute). Pelvic and back pain, especially in the lower back, hips, or pelvic area, may signal bone spread. Other symptoms include unexplained weight loss and fatigue, indicating advanced disease (American Cancer Society). These symptoms can also be caused by conditions like benign prostatic hyperplasia (BPH) or infections.

What Were Rod Stewart’s Initial Reactions to His Diagnosis?
Stewart described the news as a “shock.” In an interview, he reflected on the fear and vulnerability he felt, stating,

“Needless to say, it was a shock… when you are so close to something that is potentially life-threatening, you tend to get your life in perspective.”

This realization prompted him to reassess his priorities and appreciate life more deeply. Stewart’s initial response to his diagnosis involved grappling with fear and uncertainty. He admitted feeling “fearful, vulnerable to a degree that I never had before,” a common reaction to serious health challenges. When it came to sharing the news, Stewart and his wife, Lady Penny Lancaster, kept it private for nearly three years. Penny later revealed they told their older children first, explaining, “We told the older ones… It would be too much for them [the younger ones] to understand.” This approach reflected their desire to manage the emotional impact on their family.

What was the Prognosis?
Sir Rod Stewart’s prognosis following his prostate cancer diagnosis was cautiously optimistic due to the early detection of the disease.The prognosis for prostate cancer can vary significantly based on several factors, including the stage at which it is diagnosed. In Stewart’s case, catching the cancer early was crucial. He later stated,

“I’m in the clear now, simply because I caught it early,”

Age and Risk: The risk of developing prostate cancer increases with age. About 1 in 8 men will be diagnosed with prostate cancer in their lifetime. It is rare in men under 40, but the risk rises significantly after age 50. Over 60% of prostate cancer cases are diagnosed in men aged 65 or older (American Cancer Society).

Survival Rates: Prostate cancer has a relatively high survival rate, especially when detected early. The 5-year relative survival rate for localized or regional prostate cancer is almost 100%. However, if the cancer spreads to distant parts of the body, the survival rate drops to about 30% (National Cancer Institute).

What Treatments Did Rod Stewart Undergo?
Sir Rod Stewart’s treatment plan for prostate cancer involved a three-month intensive course of radiation therapy. This approach was necessary because his cancer was aggressive and had spread beyond the prostate gland, making surgical removal unfeasible. His wife, Lady Penny Lancaster, explained that the treatment required Stewart to visit a London hospital daily for radiation sessions, which he managed alongside his busy music career. His famous quote,

“Guys, you’ve got to really go to the doctor… Finger up the bum, no harm done,”

reflects his humorous approach to destigmatizing prostate exams.

Radiation Therapy
Radiation therapy uses high-energy rays to target and kill cancer cells while minimizing damage to surrounding healthy tissues. There are two main types of radiation therapy for prostate cancer:

External Beam Radiation Therapy (EBRT): This involves directing radiation from outside the body toward the prostate.
Intensity-Modulated Radiation Therapy (IMRT): This advanced form allows for precise targeting of the tumor, adjusting the intensity of radiation to protect nearby organs.
Stereotactic Body Radiation Therapy (SBRT): This method delivers large doses of radiation in fewer sessions, often completed within a week.
Brachytherapy: This internal method involves placing radioactive seeds directly into the prostate. It can be used alone or in combination with EBRT for more advanced cases.
How Did Rod Stewart Overcome Prostate Cancer?
Following his diagnosis in 2016, he committed to a healthier diet and maintained regular physical activity, recognizing the importance of wellness in recovery. Throughout his journey, Stewart received unwavering support from his family, particularly his wife, Lady Penny Lancaster, who played a crucial role in helping him cope with the emotional challenges of cancer.

Support from Family and Friends
His wife, Lady Penny Lancaster, was particularly instrumental in providing comfort and encouragement throughout his journey. She openly discussed the challenges they faced together, emphasizing the importance of their bond during such a difficult time.In interviews, Stewart has acknowledged the vital role his family played in helping him through his diagnosis and treatment. He said, “I’m one of the lucky ones,” reflecting on how his loved ones’ support greatly impacted his emotional well-being. Having Penny by his side helped him maintain a positive outlook, as he noted,

“When you are so close to something that is potentially life-threatening, you tend to get your life in perspective.”

Stewart’s children also expressed concern, gently urging him to prioritize his health over his busy career. He acknowledged their worries, saying, “They want me to take it easy and enjoy my time with them,” emphasizing the importance of family connections. Stewart’s friends and colleagues in the music industry also offered encouragement, and he appreciated the overwhelming love from fans and fellow artists, which boosted his spirits during treatment.

Mental and Emotional Challenges
Sir Rod Stewart’s journey through cancer involved navigating significant mental and emotional challenges, including fears of recurrence and vulnerability. However, his positive mindset—bolstered by early detection awareness and strong family support—enabled him to cope effectively with these challenges. His experience has not only shaped his personal outlook but also inspired him to advocate for greater awareness around men’s health issues, demonstrating how resilience can emerge from adversity.

How Did Advocacy and Public Awareness Help?
Sir Rod Stewart has effectively used his platform as a global music icon to raise awareness about prostate cancer, leveraging his personal experience to inform and educate others about the disease. After being diagnosed in 2016 and successfully treated, he has become a passionate advocate for men’s health, particularly emphasizing the importance of early detection through regular screenings.

Public Speaking and Advocacy
Stewart revealed his battle with prostate cancer during a performance at a prostate cancer fundraiser with the Faces. Taking a moment to address the audience, he stated,

“Hi everyone, thank you so much for coming and I have to just take this moment, I owe it to everyone, I’m a survivor.”

This candid admission not only shared his personal journey but also served as a powerful message encouraging men to prioritize their health. Stewart also appeared on various talk shows, including Loose Women, where he and his wife, Lady Penny Lancaster, discussed his diagnosis and treatment. Penny emphasized the importance of regular screenings for men. Stewart’s openness on these platforms helped reach a broad audience, reinforcing the message of early detection.

Collaborations with Health Organizations
Stewart has been involved in campaigns that promote prostate cancer awareness, particularly targeting men over 50. He has advocated for men to request prostate-specific antigen (PSA) tests during routine check-ups. In interviews, he stated, “You can actually go and request to get a PSA blood test,” encouraging proactive health management.

What Is Rod Stewart’s Life Like After Cancer?
Post-treatment, Rod Stewart has continued to thrive both personally and professionally. After successfully battling prostate cancer, which he publicly revealed in 2019, he received the all-clear in July 2022. Stewart remains active in his music career, touring extensively and releasing new albums, such as The Tears of Hercules, while expressing a desire to transition into different musical genres beyond rock.

Ongoing Health Challenges
Stewart actively manages his health by maintaining a rigorous training schedule, working out three to four times a week, even while on tour. This commitment to physical fitness is crucial for his overall well-being and helps him cope with the demands of performing. He has described himself as a “workaholic,” indicating a strong desire to continue performing despite health challenges.

In August 2024, Stewart was diagnosed with strep throat and subsequently contracted COVID-19, which forced him to cancel several concerts. His wife, Lady Penny Lancaster, noted that these health setbacks have raised concerns about the long-term implications for his singing career.Additionally, following medical advice is essential for Stewart as he navigates these health issues. He has been cautioned against overexerting himself vocally during recovery from recent illnesses, as ignoring such advice could lead to chronic damage or complications affecting his voice.

Mental and Emotional Challenges
Sir Rod Stewart’s journey through cancer involved navigating significant mental and emotional challenges, including fears of recurrence and vulnerability. However, his positive mindset—bolstered by early detection awareness and strong family support—enabled him to cope effectively with these challenges. His experience has not only shaped his personal outlook but also inspired him to advocate for greater awareness around men’s health issues, demonstrating how resilience can emerge from adversity.

How Did Advocacy and Public Awareness Help?
Sir Rod Stewart has effectively used his platform as a global music icon to raise awareness about prostate cancer, leveraging his personal experience to inform and educate others about the disease. After being diagnosed in 2016 and successfully treated, he has become a passionate advocate for men’s health, particularly emphasizing the importance of early detection through regular screenings.

Public Speaking and Advocacy
Stewart revealed his battle with prostate cancer during a performance at a prostate cancer fundraiser with the Faces. Taking a moment to address the audience, he stated,

“Hi everyone, thank you so much for coming and I have to just take this moment, I owe it to everyone, I’m a survivor.”

This candid admission not only shared his personal journey but also served as a powerful message encouraging men to prioritize their health. Stewart also appeared on various talk shows, including Loose Women, where he and his wife, Lady Penny Lancaster, discussed his diagnosis and treatment. Penny emphasized the importance of regular screenings for men. Stewart’s openness on these platforms helped reach a broad audience, reinforcing the message of early detection.

Collaborations with Health Organizations
Stewart has been involved in campaigns that promote prostate cancer awareness, particularly targeting men over 50. He has advocated for men to request prostate-specific antigen (PSA) tests during routine check-ups. In interviews, he stated, “You can actually go and request to get a PSA blood test,” encouraging proactive health management.

What Is Rod Stewart’s Life Like After Cancer?
Post-treatment, Rod Stewart has continued to thrive both personally and professionally. After successfully battling prostate cancer, which he publicly revealed in 2019, he received the all-clear in July 2022. Stewart remains active in his music career, touring extensively and releasing new albums, such as The Tears of Hercules, while expressing a desire to transition into different musical genres beyond rock.

Ongoing Health Challenges
Stewart actively manages his health by maintaining a rigorous training schedule, working out three to four times a week, even while on tour. This commitment to physical fitness is crucial for his overall well-being and helps him cope with the demands of performing. He has described himself as a “workaholic,” indicating a strong desire to continue performing despite health challenges.

In August 2024, Stewart was diagnosed with strep throat and subsequently contracted COVID-19, which forced him to cancel several concerts. His wife, Lady Penny Lancaster, noted that these health setbacks have raised concerns about the long-term implications for his singing career.Additionally, following medical advice is essential for Stewart as he navigates these health issues. He has been cautioned against overexerting himself vocally during recovery from recent illnesses, as ignoring such advice could lead to chronic damage or complications affecting his voice.

https://oncodaily.com/stories/celebritie...art-cancer]]> <![CDATA[WOLFIE’S WHISKY TAKES THE STAGE AT HAMBURG DUTY FREE]]> https://www.musicindustrypressreleases.com/press-releases/showthread.php?tid=20 Tue, 23 Dec 2025 14:21:18 +0000 MIPR]]> https://www.musicindustrypressreleases.com/press-releases/showthread.php?tid=20 April 19, 2024

[Image: Wolfies-Whisky-at-Hamburg-airport-7-1202x800.jpg]

“Few artists capture the essence of scotch whisky as authentically as Rod Stewart and we are delighted to add Wolfie’s to our global travel retail line up – that definitely pays off for our claim to offer a spectacular assortment. This is a unique chance for travellers to secure a product synonymous with prestige among whisky connoisseurs and admire a slice of rock ‘n’ roll history while they’re at it.”

- Ruediger Stelkens, Director Purchasing LTC at Gebr. Heinemann

“I’ve always loved touring in Germany, especially in Hamburg, and this year is better than ever with the Euros arriving here in the summer and nine shows ahead of me. It’s simply wonderful that travellers can pick up a bottle on their way through the airport,” “I’m hoping for a Scotland game in Hamburg and can’t wait to toast our result with a Wolfie’s in hand – we’ve arrived just in time!”

- Rod Stewart

Passengers travelling through Hamburg airport this month will be treated to a showcase of rock ‘n’ roll history as Wolfie’s Whisky brand launches its first global travel retail activation since kicking off distribution via Gebr. Heineman last month (March 2024).

The custom-built stand showcases a selection of memorabilia from Wolfie’s co-founder and music legend Sir Rod Stewart. Fans will be delighted to see Rod’s German Gold records including hits like ‘Body Wishes’, ‘Baby Jane’ and the album ‘Every Picture Tells a Story’, along with a number of wardrobe items the rockstar has previously worn on stage.

The Wolfie’s pop up will be on display throughout April and passengers will be able to sample and purchase the blended whisky, as well as admire the musical mementos while passing through the terminal.

The activation has kicked off ahead of Rod’s European summer tour which will see the rock ‘n’ roll Hall of Famer wow crowds all over Europe, including at nine German shows, from 11 May 2024.

Wolfie’s (40% ABV) is wonderfully balanced with Rod’s favourite flavours: warming cinnamon, fresh vanilla and baked apple. The whisky has a delicate taste of sweet peat and pears in syrup before finishing with candied citrus peels and a gentle oak spice.

Designed to reflect Rod’s rock ‘n’ roll heritage with subtle nods to Americana, Wolfie’s was inspired by the legendary musician’s early hell raising days with the Faces.

Wolfie’s is currently available in Gebr. Heinemann duty free shops in the following airports, as well as on the retailer’s Heinemann & Me app:

Amsterdam
Munich
Frankfurt
Berlin
Hamburg
Istanbul
Follow Wolfie’s Whisky on social media for exclusive updates by searching @WolfiesWhisky on Instagram and @WolfiesOfficial on Facebook.

https://rodstewart.com/news/wolfies-whis...-duty-free]]> April 19, 2024

[Image: Wolfies-Whisky-at-Hamburg-airport-7-1202x800.jpg]

“Few artists capture the essence of scotch whisky as authentically as Rod Stewart and we are delighted to add Wolfie’s to our global travel retail line up – that definitely pays off for our claim to offer a spectacular assortment. This is a unique chance for travellers to secure a product synonymous with prestige among whisky connoisseurs and admire a slice of rock ‘n’ roll history while they’re at it.”

- Ruediger Stelkens, Director Purchasing LTC at Gebr. Heinemann

“I’ve always loved touring in Germany, especially in Hamburg, and this year is better than ever with the Euros arriving here in the summer and nine shows ahead of me. It’s simply wonderful that travellers can pick up a bottle on their way through the airport,” “I’m hoping for a Scotland game in Hamburg and can’t wait to toast our result with a Wolfie’s in hand – we’ve arrived just in time!”

- Rod Stewart

Passengers travelling through Hamburg airport this month will be treated to a showcase of rock ‘n’ roll history as Wolfie’s Whisky brand launches its first global travel retail activation since kicking off distribution via Gebr. Heineman last month (March 2024).

The custom-built stand showcases a selection of memorabilia from Wolfie’s co-founder and music legend Sir Rod Stewart. Fans will be delighted to see Rod’s German Gold records including hits like ‘Body Wishes’, ‘Baby Jane’ and the album ‘Every Picture Tells a Story’, along with a number of wardrobe items the rockstar has previously worn on stage.

The Wolfie’s pop up will be on display throughout April and passengers will be able to sample and purchase the blended whisky, as well as admire the musical mementos while passing through the terminal.

The activation has kicked off ahead of Rod’s European summer tour which will see the rock ‘n’ roll Hall of Famer wow crowds all over Europe, including at nine German shows, from 11 May 2024.

Wolfie’s (40% ABV) is wonderfully balanced with Rod’s favourite flavours: warming cinnamon, fresh vanilla and baked apple. The whisky has a delicate taste of sweet peat and pears in syrup before finishing with candied citrus peels and a gentle oak spice.

Designed to reflect Rod’s rock ‘n’ roll heritage with subtle nods to Americana, Wolfie’s was inspired by the legendary musician’s early hell raising days with the Faces.

Wolfie’s is currently available in Gebr. Heinemann duty free shops in the following airports, as well as on the retailer’s Heinemann & Me app:

Amsterdam
Munich
Frankfurt
Berlin
Hamburg
Istanbul
Follow Wolfie’s Whisky on social media for exclusive updates by searching @WolfiesWhisky on Instagram and @WolfiesOfficial on Facebook.

https://rodstewart.com/news/wolfies-whis...-duty-free]]> <![CDATA[Billboard just made ‘free’ streams worth more on its US charts. YouTube is still not]]> https://www.musicindustrypressreleases.com/press-releases/showthread.php?tid=19 Sat, 20 Dec 2025 06:57:45 +0000 MIPR]]> https://www.musicindustrypressreleases.com/press-releases/showthread.php?tid=19 Billboard just made ‘free’ streams worth more on its US charts. YouTube is still not happy – and is pulling its data.
December 17, 2025By Mandy Dalugdug

YouTube says it will soon stop providing data to Billboard for inclusion in the US charts, ending a partnership that has lasted more than a decade.

The decision, announced today (December 17) by Lyor Cohen, YouTube’s Global Head of Music, comes just one day after Billboard revealed changes to its chart methodology that will actually narrow the weighting gap between paid and ad-supported streams.

Under Billboard’s current formula for the Billboard 200, one album ‘unit’ equals 1,250 paid/subscription streams or 3,750 ad-supported streams — a 1:3 ratio.

Billboard’s new methodology, announced yesterday (December 16), tightens that ratio to 1:2.5, with one album unit now equalling 1,000 paid streams or 2,500 ad-supported streams. (The same ratio change is being applied to the Hot 100.)

In other words: paid streams will still be weighted more favorably than ad-supported plays, but by a smaller margin than before.

Yet in a statement today, Lyor Cohen said the changes do not go far enough. YouTube wants all streams to be counted equally on Billboard’s charts – regardless of whether they come from paid subscriptions or ad-supported services.

“Billboard uses an outdated formula that weights subscription-supported streams higher than ad-supported,” Cohen said in a statement.

“This doesn’t reflect how fans engage with music today and ignores the massive engagement from fans who don’t have a subscription.”

Cohen added: “We believe every fan matters and every play should count equally, therefore after January 16, YouTube data will no longer be delivered or factored into the US Billboard charts.”

That January 16 date is deliberate: the new Billboard streaming methodology takes effect with charts dated January 17, 2026 (covering data from January 2-8).

YouTube says it will soon stop providing data to Billboard for inclusion in the US charts, ending a partnership that has lasted more than a decade.

The decision, announced today (December 17) by Lyor Cohen, YouTube’s Global Head of Music, comes just one day after Billboard revealed changes to its chart methodology that will actually narrow the weighting gap between paid and ad-supported streams.

Under Billboard’s current formula for the Billboard 200, one album ‘unit’ equals 1,250 paid/subscription streams or 3,750 ad-supported streams — a 1:3 ratio.

Billboard’s new methodology, announced yesterday (December 16), tightens that ratio to 1:2.5, with one album unit now equalling 1,000 paid streams or 2,500 ad-supported streams. (The same ratio change is being applied to the Hot 100.)

In other words: paid streams will still be weighted more favorably than ad-supported plays, but by a smaller margin than before.

Yet in a statement today, Lyor Cohen said the changes do not go far enough. YouTube wants all streams to be counted equally on Billboard’s charts – regardless of whether they come from paid subscriptions or ad-supported services.

“Billboard uses an outdated formula that weights subscription-supported streams higher than ad-supported,” Cohen said in a statement.

“This doesn’t reflect how fans engage with music today and ignores the massive engagement from fans who don’t have a subscription.”

Cohen added: “We believe every fan matters and every play should count equally, therefore after January 16, YouTube data will no longer be delivered or factored into the US Billboard charts.”

That January 16 date is deliberate: the new Billboard streaming methodology takes effect with charts dated January 17, 2026 (covering data from January 2-8).

The question of how to weight different types of streams has been contested since Billboard first introduced tiered streaming values in 2018.

Prior to that change, all streams — whether from paid services like Apple Music or ad-supported platforms like YouTube — were counted equally.

In a 2017 interview with MBW, Apple‘s Jimmy Iovine argued that having YouTube streams count equally alongside paid-for music on Billboard’s Hot 100 disadvantaged artists.

Iovine was unequivocal about his view that paid streams should carry more weight on industry charts. “I’ll put it this way: people who pay for subscriptions should be advantaged,” he said. “The labels owe it to their customers.”

He added: “The most important thing for labels is to make the paid services compelling and entertaining. And don’t make free services as good as the paid services. Is that not obvious?!“

When the 2018 changes were implemented, paid subscription streams were weighted more heavily than ad-supported streams on both charts.

On the Hot 100, paid streams were given full point value, ad-supported streams two-thirds, and programmed streams half. On the Billboard 200, it took three times as many ad-supported streams (3,750) as paid streams (1,250) to equal one album unit.

Recent data shows that the US recorded music industry’s overall streaming revenue performance in 2024 was dragged down by payouts from on-demand, ad-supported music services, including YouTube and Spotify‘s ‘freemium’ tier.

Combined, these platforms saw their revenue contribution to the recorded music industry decline in the US last year, down 1.8% YoY to $1.83 billion.

Meanwhile, on-demand paid subscription platforms contributed $11.685 billion to recorded music rightsholders, up 4.6% YoY.

The disparity in revenue per stream between paid and free tiers is at the heart of the debate.

As Iovine put it in 2017: “The fact is that ‘free’ in music streaming is so technically good and ubiquitous that it’s stunting the growth of paid streaming. Two things have to happen: free has to become more difficult or restricted, and the paid services have to get better.”

Cohen’s announcement represents a reversal from 2019, when he welcomed YouTube’s inclusion in the Billboard 200, calling it a “very important moment in making the chart a more accurate representation of what people are listening to.”

At that time, Cohen said: “Genres like Latin, hip-hop and electronic, which consistently dominate the YouTube charts, will now be properly recognized for their popularity. This is another great step in bringing YouTube and the industry together.”

YouTube reported in October that it paid more than $8 billion to the music industry during the 12 months from July 2024 to June 2025, covering revenue from both advertising and subscriptions on the Google-owned platform.

In his statement today (December 17), Cohen directed fans to YouTube’s own charts as an alternative to Billboard’s lists.

“If you’re curious about what music is making waves on YouTube, you can visit our charts,” he said.

https://www.musicbusinessworldwide.com/b...-its-data/]]> Billboard just made ‘free’ streams worth more on its US charts. YouTube is still not happy – and is pulling its data.
December 17, 2025By Mandy Dalugdug

YouTube says it will soon stop providing data to Billboard for inclusion in the US charts, ending a partnership that has lasted more than a decade.

The decision, announced today (December 17) by Lyor Cohen, YouTube’s Global Head of Music, comes just one day after Billboard revealed changes to its chart methodology that will actually narrow the weighting gap between paid and ad-supported streams.

Under Billboard’s current formula for the Billboard 200, one album ‘unit’ equals 1,250 paid/subscription streams or 3,750 ad-supported streams — a 1:3 ratio.

Billboard’s new methodology, announced yesterday (December 16), tightens that ratio to 1:2.5, with one album unit now equalling 1,000 paid streams or 2,500 ad-supported streams. (The same ratio change is being applied to the Hot 100.)

In other words: paid streams will still be weighted more favorably than ad-supported plays, but by a smaller margin than before.

Yet in a statement today, Lyor Cohen said the changes do not go far enough. YouTube wants all streams to be counted equally on Billboard’s charts – regardless of whether they come from paid subscriptions or ad-supported services.

“Billboard uses an outdated formula that weights subscription-supported streams higher than ad-supported,” Cohen said in a statement.

“This doesn’t reflect how fans engage with music today and ignores the massive engagement from fans who don’t have a subscription.”

Cohen added: “We believe every fan matters and every play should count equally, therefore after January 16, YouTube data will no longer be delivered or factored into the US Billboard charts.”

That January 16 date is deliberate: the new Billboard streaming methodology takes effect with charts dated January 17, 2026 (covering data from January 2-8).

YouTube says it will soon stop providing data to Billboard for inclusion in the US charts, ending a partnership that has lasted more than a decade.

The decision, announced today (December 17) by Lyor Cohen, YouTube’s Global Head of Music, comes just one day after Billboard revealed changes to its chart methodology that will actually narrow the weighting gap between paid and ad-supported streams.

Under Billboard’s current formula for the Billboard 200, one album ‘unit’ equals 1,250 paid/subscription streams or 3,750 ad-supported streams — a 1:3 ratio.

Billboard’s new methodology, announced yesterday (December 16), tightens that ratio to 1:2.5, with one album unit now equalling 1,000 paid streams or 2,500 ad-supported streams. (The same ratio change is being applied to the Hot 100.)

In other words: paid streams will still be weighted more favorably than ad-supported plays, but by a smaller margin than before.

Yet in a statement today, Lyor Cohen said the changes do not go far enough. YouTube wants all streams to be counted equally on Billboard’s charts – regardless of whether they come from paid subscriptions or ad-supported services.

“Billboard uses an outdated formula that weights subscription-supported streams higher than ad-supported,” Cohen said in a statement.

“This doesn’t reflect how fans engage with music today and ignores the massive engagement from fans who don’t have a subscription.”

Cohen added: “We believe every fan matters and every play should count equally, therefore after January 16, YouTube data will no longer be delivered or factored into the US Billboard charts.”

That January 16 date is deliberate: the new Billboard streaming methodology takes effect with charts dated January 17, 2026 (covering data from January 2-8).

The question of how to weight different types of streams has been contested since Billboard first introduced tiered streaming values in 2018.

Prior to that change, all streams — whether from paid services like Apple Music or ad-supported platforms like YouTube — were counted equally.

In a 2017 interview with MBW, Apple‘s Jimmy Iovine argued that having YouTube streams count equally alongside paid-for music on Billboard’s Hot 100 disadvantaged artists.

Iovine was unequivocal about his view that paid streams should carry more weight on industry charts. “I’ll put it this way: people who pay for subscriptions should be advantaged,” he said. “The labels owe it to their customers.”

He added: “The most important thing for labels is to make the paid services compelling and entertaining. And don’t make free services as good as the paid services. Is that not obvious?!“

When the 2018 changes were implemented, paid subscription streams were weighted more heavily than ad-supported streams on both charts.

On the Hot 100, paid streams were given full point value, ad-supported streams two-thirds, and programmed streams half. On the Billboard 200, it took three times as many ad-supported streams (3,750) as paid streams (1,250) to equal one album unit.

Recent data shows that the US recorded music industry’s overall streaming revenue performance in 2024 was dragged down by payouts from on-demand, ad-supported music services, including YouTube and Spotify‘s ‘freemium’ tier.

Combined, these platforms saw their revenue contribution to the recorded music industry decline in the US last year, down 1.8% YoY to $1.83 billion.

Meanwhile, on-demand paid subscription platforms contributed $11.685 billion to recorded music rightsholders, up 4.6% YoY.

The disparity in revenue per stream between paid and free tiers is at the heart of the debate.

As Iovine put it in 2017: “The fact is that ‘free’ in music streaming is so technically good and ubiquitous that it’s stunting the growth of paid streaming. Two things have to happen: free has to become more difficult or restricted, and the paid services have to get better.”

Cohen’s announcement represents a reversal from 2019, when he welcomed YouTube’s inclusion in the Billboard 200, calling it a “very important moment in making the chart a more accurate representation of what people are listening to.”

At that time, Cohen said: “Genres like Latin, hip-hop and electronic, which consistently dominate the YouTube charts, will now be properly recognized for their popularity. This is another great step in bringing YouTube and the industry together.”

YouTube reported in October that it paid more than $8 billion to the music industry during the 12 months from July 2024 to June 2025, covering revenue from both advertising and subscriptions on the Google-owned platform.

In his statement today (December 17), Cohen directed fans to YouTube’s own charts as an alternative to Billboard’s lists.

“If you’re curious about what music is making waves on YouTube, you can visit our charts,” he said.

https://www.musicbusinessworldwide.com/b...-its-data/]]> <![CDATA[YouTube to pull music data from Billboard’s charts because it doesn’t like its rankin]]> https://www.musicindustrypressreleases.com/press-releases/showthread.php?tid=18 Sat, 20 Dec 2025 03:41:23 +0000 MIPR]]> https://www.musicindustrypressreleases.com/press-releases/showthread.php?tid=18 Sarah Perez 12:57 PM PST · December 17, 2025

YouTube is pulling its data from Billboard for use in the publisher’s industry-leading U.S. music charts. The decision is in response to a recent change Billboard made to its ranking formula, which continues to add more weight to paid, on-demand streaming compared with ad-supported, free streaming.

Billboard justified its decision to adjust its age-old formula by saying that the change will “better reflect an increase in streaming revenue and changing consumer behaviors.”

In other words, streaming now matters more than buying albums or songs, so it wants its charts to reflect that.

However, YouTube doesn’t like the new formula because it doesn’t want there to be much — if any — differentiation between free and paid streams, especially if the changes are meant to reflect how consumers today are enjoying music.

“Billboard uses an outdated formula that weights subscription-supported streams higher than ad-supported. This doesn’t reflect how fans engage with music today and ignores the massive engagement from fans who don’t have a subscription,” a YouTube blog post published on Wednesday explains. “Streaming is the primary way people experience music, making up 84% of U.S. recorded music revenue.”

“We’re simply asking that every stream is counted fairly and equally, whether it is subscription-based or ad-supported—because every fan matters and every play should count,” the post notes.

The ranking changes will be reflected starting with the charts published on January 17, which will include data from January 2-8, 2026. This will impact the Billboard 200 lists and genre-based album charts. In addition, the ratio between paid/subscription and ad-supported on-demand streaming tiers will be adjusted to 2.5:1 for the Billboard Hot 100, Billboard said.

To protest the new formula, YouTube said it will no longer provide data to Billboard after January 16, 2026.

Here’s what that change means in practice: Under the revised calculation, Billboard said it will take 33.3% fewer ad-supported on-demand streams of songs from an album, and 20% fewer paid/subscription on-demand streams of songs from an album, to equal an album unit. In short, it will take fewer streams than before for an album to climb the charts. This is a win for streaming in general but not necessarily for YouTube.

Here’s why. At present, the formula Billboard uses defines an album unit (the standard measurement for chart rankings) as one album sale. It counts 10 individual songs from an album as one album consumption unit, as well.

On the streaming side, it currently says an album unit equals 3,750 ad-supported streams — like YouTube’s — or 1,250 paid/subscription official audio and video streams.

After the changes, those figures will be adjusted, so it will take 2,500 ad-supported streams or 1,000 paid/subscription streams to count as one album unit. This means paid streams count 2.5x as much as ad-supported streams. While that’s less of a gap than the current 3:1 ratio, it’s still not what YouTube would prefer seeing here. The company is essentially doing what companies do in failed negotiations like this: it’s taking its ball and going home.

Of course, by not cooperating with Billboard, YouTube’s music data won’t be considered in chart rankings, which could lead labels and artists to deprioritize publishing their music on YouTube. That’s not a good long-term strategy for YouTube as an important player in the streaming music era. That’s why this move should be viewed as the negotiation tactic it is.

“We are committed to achieving equitable representation across the charts and hopefully can work with Billboard to return to theirs,” YouTube’s announcement concludes.


SOURCE: https://techcrunch.com/2025/12/17/youtub...g-formula/]]> Sarah Perez 12:57 PM PST · December 17, 2025

YouTube is pulling its data from Billboard for use in the publisher’s industry-leading U.S. music charts. The decision is in response to a recent change Billboard made to its ranking formula, which continues to add more weight to paid, on-demand streaming compared with ad-supported, free streaming.

Billboard justified its decision to adjust its age-old formula by saying that the change will “better reflect an increase in streaming revenue and changing consumer behaviors.”

In other words, streaming now matters more than buying albums or songs, so it wants its charts to reflect that.

However, YouTube doesn’t like the new formula because it doesn’t want there to be much — if any — differentiation between free and paid streams, especially if the changes are meant to reflect how consumers today are enjoying music.

“Billboard uses an outdated formula that weights subscription-supported streams higher than ad-supported. This doesn’t reflect how fans engage with music today and ignores the massive engagement from fans who don’t have a subscription,” a YouTube blog post published on Wednesday explains. “Streaming is the primary way people experience music, making up 84% of U.S. recorded music revenue.”

“We’re simply asking that every stream is counted fairly and equally, whether it is subscription-based or ad-supported—because every fan matters and every play should count,” the post notes.

The ranking changes will be reflected starting with the charts published on January 17, which will include data from January 2-8, 2026. This will impact the Billboard 200 lists and genre-based album charts. In addition, the ratio between paid/subscription and ad-supported on-demand streaming tiers will be adjusted to 2.5:1 for the Billboard Hot 100, Billboard said.

To protest the new formula, YouTube said it will no longer provide data to Billboard after January 16, 2026.

Here’s what that change means in practice: Under the revised calculation, Billboard said it will take 33.3% fewer ad-supported on-demand streams of songs from an album, and 20% fewer paid/subscription on-demand streams of songs from an album, to equal an album unit. In short, it will take fewer streams than before for an album to climb the charts. This is a win for streaming in general but not necessarily for YouTube.

Here’s why. At present, the formula Billboard uses defines an album unit (the standard measurement for chart rankings) as one album sale. It counts 10 individual songs from an album as one album consumption unit, as well.

On the streaming side, it currently says an album unit equals 3,750 ad-supported streams — like YouTube’s — or 1,250 paid/subscription official audio and video streams.

After the changes, those figures will be adjusted, so it will take 2,500 ad-supported streams or 1,000 paid/subscription streams to count as one album unit. This means paid streams count 2.5x as much as ad-supported streams. While that’s less of a gap than the current 3:1 ratio, it’s still not what YouTube would prefer seeing here. The company is essentially doing what companies do in failed negotiations like this: it’s taking its ball and going home.

Of course, by not cooperating with Billboard, YouTube’s music data won’t be considered in chart rankings, which could lead labels and artists to deprioritize publishing their music on YouTube. That’s not a good long-term strategy for YouTube as an important player in the streaming music era. That’s why this move should be viewed as the negotiation tactic it is.

“We are committed to achieving equitable representation across the charts and hopefully can work with Billboard to return to theirs,” YouTube’s announcement concludes.


SOURCE: https://techcrunch.com/2025/12/17/youtub...g-formula/]]> <![CDATA[Stephen Bishop Jams With Yacht Rock Royalty On Final LP 'THIMK' sports guest turns fr]]> https://www.musicindustrypressreleases.com/press-releases/showthread.php?tid=16 Sun, 14 Dec 2025 23:10:53 +0000 MIPR]]> https://www.musicindustrypressreleases.com/press-releases/showthread.php?tid=16 'THIMK' sports guest turns from Michael McDonald, Christopher Cross and Kenny Loggins, plus Sting and Eric Clapton
Written by SPIN Staff |
June 27, 2025 - 10:01 am

[Image: GettyImages-480880190-1668x1609.jpg]
Stephen Bishop performing in 2015 (photo: Bobby Bank / WireImage).

Apropos for what he says will be his final album, singer/songwriter and yacht rock staple Stephen Bishop has rounded up Eric Clapton, Sting, Graham Nash, Jimmy Webb, Art Garfunkel, Dave Grusin, Michael McDonald, Kenny Loggins, Christopher Cross and the members of America for THIMK, which will be released Aug. 15.

Clapton and Sting lend a hand on first single “Now That I’ve Hit the Big Time,” which is out now. Among the other contributors to THIMK are former Ambrosia frontman David Pack, David Benoit, bassist Nathan East, keyboardist Greg Phillinganes, bassist Leland Sklar, drummers Steve Gadd and Nic Collins and Toto keyboardist Steve Porcaro.

“After five decades of recording music and performing, I figured it was time to close this chapter of my music career,” says the 73-year-old Bishop, who is best known for soft rock hits such as “On and On” “Separate Lives,” “Save It for a Rainy Day,” the 1982 Tootsie theme “It Might Be You” and cameos in such films as Animal House and The Blues Brothers. “THIMK — my 20th and final album — is a celebration of friendship, legacy and all the people who’ve been part of this long, wonderful ride. I’ve developed a bit of arthritis in my hands over the past few years, so I wanted to give this last album everything I had while I still could. I’m proud of it — and grateful for the chance to spend my life doing what I love.”

CD and vinyl editions will feature the bonus tracks “Dance Off the Moon” and “You Can Laugh at Me,” plus in-studio clips from the THIMK sessions and rare footage from throughout Bishop’s career.

As for the unusual album title, Bishop reveals, “THIMK, pronounced just like ‘think,’ but with an ‘M.’ Flashback to the 1980s. While out shopping, I stumbled upon a pin with the peculiar word THIMK on it. Given my penchant for collecting eccentric pins, I adorned many in those days, but this one left a lasting impression. Over the years, I considered using THIMK as a title for an album many times but ultimately decided it was too unusual. Years later, my wife found the THIMK pin. She thought it was funny and quirky, just like me, and believed it would prompt people to think about THIMK. Now, after all these years, it finally found its perfect moment. Interestingly, we recently discovered that the word THIMK also appeared in the film Taxi Driver.”]]> 'THIMK' sports guest turns from Michael McDonald, Christopher Cross and Kenny Loggins, plus Sting and Eric Clapton
Written by SPIN Staff |
June 27, 2025 - 10:01 am

[Image: GettyImages-480880190-1668x1609.jpg]
Stephen Bishop performing in 2015 (photo: Bobby Bank / WireImage).

Apropos for what he says will be his final album, singer/songwriter and yacht rock staple Stephen Bishop has rounded up Eric Clapton, Sting, Graham Nash, Jimmy Webb, Art Garfunkel, Dave Grusin, Michael McDonald, Kenny Loggins, Christopher Cross and the members of America for THIMK, which will be released Aug. 15.

Clapton and Sting lend a hand on first single “Now That I’ve Hit the Big Time,” which is out now. Among the other contributors to THIMK are former Ambrosia frontman David Pack, David Benoit, bassist Nathan East, keyboardist Greg Phillinganes, bassist Leland Sklar, drummers Steve Gadd and Nic Collins and Toto keyboardist Steve Porcaro.

“After five decades of recording music and performing, I figured it was time to close this chapter of my music career,” says the 73-year-old Bishop, who is best known for soft rock hits such as “On and On” “Separate Lives,” “Save It for a Rainy Day,” the 1982 Tootsie theme “It Might Be You” and cameos in such films as Animal House and The Blues Brothers. “THIMK — my 20th and final album — is a celebration of friendship, legacy and all the people who’ve been part of this long, wonderful ride. I’ve developed a bit of arthritis in my hands over the past few years, so I wanted to give this last album everything I had while I still could. I’m proud of it — and grateful for the chance to spend my life doing what I love.”

CD and vinyl editions will feature the bonus tracks “Dance Off the Moon” and “You Can Laugh at Me,” plus in-studio clips from the THIMK sessions and rare footage from throughout Bishop’s career.

As for the unusual album title, Bishop reveals, “THIMK, pronounced just like ‘think,’ but with an ‘M.’ Flashback to the 1980s. While out shopping, I stumbled upon a pin with the peculiar word THIMK on it. Given my penchant for collecting eccentric pins, I adorned many in those days, but this one left a lasting impression. Over the years, I considered using THIMK as a title for an album many times but ultimately decided it was too unusual. Years later, my wife found the THIMK pin. She thought it was funny and quirky, just like me, and believed it would prompt people to think about THIMK. Now, after all these years, it finally found its perfect moment. Interestingly, we recently discovered that the word THIMK also appeared in the film Taxi Driver.”]]> <![CDATA[‘That’s called robbery’: Gene Simmons urges US Congress to end loophole that allows r]]> https://www.musicindustrypressreleases.com/press-releases/showthread.php?tid=15 Sun, 14 Dec 2025 23:07:13 +0000 MIPR]]> https://www.musicindustrypressreleases.com/press-releases/showthread.php?tid=15 December 10, 2025 by Daniel Tencer

KISS frontman Gene Simmons has urged the US Congress to pass a bill that would require US broadcast radio stations to pay royalties for the use of recordings for the first time.

“American artists have never been paid for radio airplay. Not one cent,” Simmons said in prepared remarks in front of the Senate Judiciary Committee’s subcommittee on intellectual property on Tuesday (December 9).

“Let me say that again: Frank Sinatra, Elvis Presley, Whitney Houston, Garth Brooks, George Strait – none of them ever got a royalty check when their songs played on the radio. Meanwhile, radio made $14 billion this year.”

The US has long followed a practice under which broadcast radio stations pay music publishers and songwriters for the use of a composition, but they don’t pay artists and producers for the use of a recording. That sets the US apart from most developed countries, where terrestrial radio stations pay for both compositions and recordings.

It also stands in stark contrast to other music media, such as streaming services and satellite radio, which do pay for recordings in the US.

“They play our songs. People tune in to hear our songs. Advertisers pay big money to reach those listeners. And the artists who created the music that makes it all work? They get bupkis. I don’t know about you, but where I come from, that’s called robbery,” Simmons said.

Quote:“American artists have never been paid for radio airplay. Not one cent.”

--Gene Simmons


Simmons appeared in front of the committee in support of the American Music Fairness Act, a proposed law that had stalled in previous congressional sessions and was reintroduced in Congress this past January by Sen. Marsha Blackburn, a Tennessee Republican, and Rep. Darrell Issa, a California Republican.

The bill would establish a performance right for recordings played on terrestrial radio, mandating that artists, performers, producers and others involved in the creation of a recording be paid a fair market rate for radio airplay.

At times Simmons strayed from his prepared remarks, declaring that “if you are against this bill, you are un-American,” and adding, per Rolling Stone: “Our emissaries to the world are Elvis and Frank Sinatra. And when they find out we’re not treating our stars right — in other words, worse than slaves; slaves get food and water. Elvis and Sinatra and Bing Crosby got nothing for their performance. You’ve got to change this now.”

Simmons, who just this past Sunday received Kennedy Center Honors in Washington, DC, along with his KISS bandmates. appeared in the Senate alongside Michael Huppe, President and CEO of digital performance royalty collection org SoundExchange, who urged Congress “to finally close this glaring loophole in our copyright law which has been giving one of the oldest music delivery platforms a free ride for far too long.”

Quote:“We are in the company of the most notorious abusers of property rights in the world – joining North Korea, Iran, and Cuba.”

--Michael Huppe, SoundExchange


Huppe noted that the current practice puts the US in bad company.

“Even Russia and China pay,” he said. “We are in the company of the most notorious abusers of property rights in the world – joining North Korea, Iran, and Cuba.”

The Recording Academy, which has thrown its weight behind the bill, notes that “when American music is played overseas, other countries collect royalties for American artists – approximately $200 million annually – but never pay those royalties because the US does not reciprocate with our own performance right.”

The bill is currently under consideration by the Senate Judiciary Committee and has yet to come to a vote. Simmons told the subcommittee that he’s “confident” President Donald Trump will sign it into law if it passes through the Senate and House.


https://www.musicbusinessworldwide.com/t...ecordings/]]> December 10, 2025 by Daniel Tencer

KISS frontman Gene Simmons has urged the US Congress to pass a bill that would require US broadcast radio stations to pay royalties for the use of recordings for the first time.

“American artists have never been paid for radio airplay. Not one cent,” Simmons said in prepared remarks in front of the Senate Judiciary Committee’s subcommittee on intellectual property on Tuesday (December 9).

“Let me say that again: Frank Sinatra, Elvis Presley, Whitney Houston, Garth Brooks, George Strait – none of them ever got a royalty check when their songs played on the radio. Meanwhile, radio made $14 billion this year.”

The US has long followed a practice under which broadcast radio stations pay music publishers and songwriters for the use of a composition, but they don’t pay artists and producers for the use of a recording. That sets the US apart from most developed countries, where terrestrial radio stations pay for both compositions and recordings.

It also stands in stark contrast to other music media, such as streaming services and satellite radio, which do pay for recordings in the US.

“They play our songs. People tune in to hear our songs. Advertisers pay big money to reach those listeners. And the artists who created the music that makes it all work? They get bupkis. I don’t know about you, but where I come from, that’s called robbery,” Simmons said.

Quote:“American artists have never been paid for radio airplay. Not one cent.”

--Gene Simmons


Simmons appeared in front of the committee in support of the American Music Fairness Act, a proposed law that had stalled in previous congressional sessions and was reintroduced in Congress this past January by Sen. Marsha Blackburn, a Tennessee Republican, and Rep. Darrell Issa, a California Republican.

The bill would establish a performance right for recordings played on terrestrial radio, mandating that artists, performers, producers and others involved in the creation of a recording be paid a fair market rate for radio airplay.

At times Simmons strayed from his prepared remarks, declaring that “if you are against this bill, you are un-American,” and adding, per Rolling Stone: “Our emissaries to the world are Elvis and Frank Sinatra. And when they find out we’re not treating our stars right — in other words, worse than slaves; slaves get food and water. Elvis and Sinatra and Bing Crosby got nothing for their performance. You’ve got to change this now.”

Simmons, who just this past Sunday received Kennedy Center Honors in Washington, DC, along with his KISS bandmates. appeared in the Senate alongside Michael Huppe, President and CEO of digital performance royalty collection org SoundExchange, who urged Congress “to finally close this glaring loophole in our copyright law which has been giving one of the oldest music delivery platforms a free ride for far too long.”

Quote:“We are in the company of the most notorious abusers of property rights in the world – joining North Korea, Iran, and Cuba.”

--Michael Huppe, SoundExchange


Huppe noted that the current practice puts the US in bad company.

“Even Russia and China pay,” he said. “We are in the company of the most notorious abusers of property rights in the world – joining North Korea, Iran, and Cuba.”

The Recording Academy, which has thrown its weight behind the bill, notes that “when American music is played overseas, other countries collect royalties for American artists – approximately $200 million annually – but never pay those royalties because the US does not reciprocate with our own performance right.”

The bill is currently under consideration by the Senate Judiciary Committee and has yet to come to a vote. Simmons told the subcommittee that he’s “confident” President Donald Trump will sign it into law if it passes through the Senate and House.


https://www.musicbusinessworldwide.com/t...ecordings/]]> <![CDATA[“Shake It to the Max” Fallout Deepens: Ex–Grammy Official Says He Was Fired for Enfor]]> https://www.musicindustrypressreleases.com/press-releases/showthread.php?tid=14 Sun, 30 Nov 2025 01:44:36 +0000 MIPR]]> https://www.musicindustrypressreleases.com/press-releases/showthread.php?tid=14 by Donovan Watkis

[Image: Screen-Shot-2025-03-09-at-12.30.17-PM.jp...C584&ssl=1]

In a detailed and personal statement, former Recording Academy genre manager Sean Thwaites is breaking his silence following his abrupt termination on November 21st—just two days after Billboard published a story about a Grammy eligibility ruling he helped oversee.

“Hi, my name is Sean Thwaites. Until recently, I served as a genre manager in the Recording Academy’s Awards Department, overseeing five categories, Global Music Performance, Best African Music Performance, Contemporary Instrumental, New Age Ambient and Chant, and Global Music Album.”

Billboard published story in November stating that The Grammys and gamma. CEO Larry Jackson were at odds after the Recording Academy ruled Moliy’s global hit “Shake It to the Max (Fly)” remix ineligible for consideration in the Global and African music categories. The Academy says the issue is straightforward: “Remixes are just not eligible” for the Global Music Performance category, a rule that immediately disqualified the submission. In a statement, the Academy acknowledged the song’s impact but reiterated its stance: “Unfortunately… it was submitted as a remix, and as per our longstanding and published rules, remixes are just not eligible in these categories.”

Jackson strongly rejected the decision, calling it a technicality that undermines the artists’ achievements. “To be disqualified because we decided to call it a remix instead of ‘Part Two’ is an interesting choice,” he said, adding that “The answer of ‘That’s just the rule’ doesn’t feel respectful toward what these artists achieved.” He argued the recording is effectively a new version — with fresh verses, a revised intro, and its own ISRC — and noted that it was the only version submitted. For Jackson, the ruling is “devoid of any common sense” and emblematic of how independent and global artists are constrained by rigid systems.

That seems to be at the heart of Thwaites dismissal which he said came without warning, despite a strong performance record and recent recognition of his work.

“On November 21st, I was terminated just 48 hours after Billboard published a story about an eligibility ruling involving the song Shake It to the Max. My committee followed Grammy rules exactly as written, and the vice president of awards confirmed in writing that my decision was correct. The Recording Academy also told Billboard, we understand the impact of the song, but it was submitted as a remix and does not meet eligibility requirements. That is the exact rule I enforced.”

According to Thwaites, nothing in his recent evaluations suggested that his position was in jeopardy.

“On August 8th, I received a positive performance review and a pay increase with no warnings, no concerns, and no indication that my job was at risk.”

He also notes that the industry continued to rely on him as a representative of the Academy up until the days before his termination.

“And on November 17th, just days before I was terminated, RCA Records requested me by name to interview Davido at the Grammy Museum. At that time, I was managing 43 nominees across all five categories.”

gamma. appealed for nearly a week, but the Academy held firm. Jackson, a music executive who ranked in Billboard’s top 100 power players, questioned what message this sends to rising artists from Africa and the Caribbean, saying, “How discouraging is it… that such an undeniable global success may not be honored because of rigid conventionalism?” Ironically, the remix also couldn’t qualify for Best Remixed Recording, since simply adding featured vocalists doesn’t meet that category’s criteria.

Despite heavy chart success — including 26 weeks at No. 1 on U.S. Afrobeats Songs and a 20-week run on the Hot 100 — the track will be absent from the 2026 Grammys. As Jackson summarized, the dispute highlights “the lack of leverage that independent artists and independent music companies systematically have against the machine.”

Thwaites, who has been widely recognized for his advocacy for global and African artists, emphasized that he would never intentionally sideline African music.

“And I want to be clear, I would never snub African music. I am the person who wrote the proposal that created the best African music performance category. I’ve spent years uplifting African artists and building the Academy’s bridge to the continent. African music is part of my purpose and identity.”

Concerns About Departmental Patterns
In his statement, Thwaites also raises concerns about the broader pattern of Black employees being dismissed from the Awards Department.

“When I started at the Recording Academy, there were six black employees in the awards department. One black colleague was terminated in August, just three months before me, making me the fourth black employee terminated during my time there. That pattern is deeply concerning.”

Thwaites says he is speaking publicly now because of the broader implications of his experience.

“I’m speaking today because transparency matters, fairness matters, and no one should lose their job for following the rules. I’m seeking the proper legal support and I’m standing firmly in my truth. Thank you for listening.”]]> by Donovan Watkis

[Image: Screen-Shot-2025-03-09-at-12.30.17-PM.jp...C584&ssl=1]

In a detailed and personal statement, former Recording Academy genre manager Sean Thwaites is breaking his silence following his abrupt termination on November 21st—just two days after Billboard published a story about a Grammy eligibility ruling he helped oversee.

“Hi, my name is Sean Thwaites. Until recently, I served as a genre manager in the Recording Academy’s Awards Department, overseeing five categories, Global Music Performance, Best African Music Performance, Contemporary Instrumental, New Age Ambient and Chant, and Global Music Album.”

Billboard published story in November stating that The Grammys and gamma. CEO Larry Jackson were at odds after the Recording Academy ruled Moliy’s global hit “Shake It to the Max (Fly)” remix ineligible for consideration in the Global and African music categories. The Academy says the issue is straightforward: “Remixes are just not eligible” for the Global Music Performance category, a rule that immediately disqualified the submission. In a statement, the Academy acknowledged the song’s impact but reiterated its stance: “Unfortunately… it was submitted as a remix, and as per our longstanding and published rules, remixes are just not eligible in these categories.”

Jackson strongly rejected the decision, calling it a technicality that undermines the artists’ achievements. “To be disqualified because we decided to call it a remix instead of ‘Part Two’ is an interesting choice,” he said, adding that “The answer of ‘That’s just the rule’ doesn’t feel respectful toward what these artists achieved.” He argued the recording is effectively a new version — with fresh verses, a revised intro, and its own ISRC — and noted that it was the only version submitted. For Jackson, the ruling is “devoid of any common sense” and emblematic of how independent and global artists are constrained by rigid systems.

That seems to be at the heart of Thwaites dismissal which he said came without warning, despite a strong performance record and recent recognition of his work.

“On November 21st, I was terminated just 48 hours after Billboard published a story about an eligibility ruling involving the song Shake It to the Max. My committee followed Grammy rules exactly as written, and the vice president of awards confirmed in writing that my decision was correct. The Recording Academy also told Billboard, we understand the impact of the song, but it was submitted as a remix and does not meet eligibility requirements. That is the exact rule I enforced.”

According to Thwaites, nothing in his recent evaluations suggested that his position was in jeopardy.

“On August 8th, I received a positive performance review and a pay increase with no warnings, no concerns, and no indication that my job was at risk.”

He also notes that the industry continued to rely on him as a representative of the Academy up until the days before his termination.

“And on November 17th, just days before I was terminated, RCA Records requested me by name to interview Davido at the Grammy Museum. At that time, I was managing 43 nominees across all five categories.”

gamma. appealed for nearly a week, but the Academy held firm. Jackson, a music executive who ranked in Billboard’s top 100 power players, questioned what message this sends to rising artists from Africa and the Caribbean, saying, “How discouraging is it… that such an undeniable global success may not be honored because of rigid conventionalism?” Ironically, the remix also couldn’t qualify for Best Remixed Recording, since simply adding featured vocalists doesn’t meet that category’s criteria.

Despite heavy chart success — including 26 weeks at No. 1 on U.S. Afrobeats Songs and a 20-week run on the Hot 100 — the track will be absent from the 2026 Grammys. As Jackson summarized, the dispute highlights “the lack of leverage that independent artists and independent music companies systematically have against the machine.”

Thwaites, who has been widely recognized for his advocacy for global and African artists, emphasized that he would never intentionally sideline African music.

“And I want to be clear, I would never snub African music. I am the person who wrote the proposal that created the best African music performance category. I’ve spent years uplifting African artists and building the Academy’s bridge to the continent. African music is part of my purpose and identity.”

Concerns About Departmental Patterns
In his statement, Thwaites also raises concerns about the broader pattern of Black employees being dismissed from the Awards Department.

“When I started at the Recording Academy, there were six black employees in the awards department. One black colleague was terminated in August, just three months before me, making me the fourth black employee terminated during my time there. That pattern is deeply concerning.”

Thwaites says he is speaking publicly now because of the broader implications of his experience.

“I’m speaking today because transparency matters, fairness matters, and no one should lose their job for following the rules. I’m seeking the proper legal support and I’m standing firmly in my truth. Thank you for listening.”]]> <![CDATA[Megan Thee Stallion Gives ’90s Glamour & Plenty of Twerking in Cinematic ‘Lover Girl’]]> https://www.musicindustrypressreleases.com/press-releases/showthread.php?tid=13 Mon, 27 Oct 2025 02:29:14 +0000 MIPR]]> https://www.musicindustrypressreleases.com/press-releases/showthread.php?tid=13 The only thing missing is a Klay Thompson cameo.
By Michael Saponara
Billboard 10/24/2025

Megan Thee Stallion is head over heels for Klay Thompson. The Houston Hottie gushes about her NBA boo throughout her new single, “Lover Girl,” and she delivered a stunning accompanying visual on Friday (Oct. 24).

Between the stylish ’90s glamour wardrobe, sharp visuals and storytelling, Megan spared no expense in this video.

A black-and-white clip finds Thee Stallion flanked by four women in lingerie twerking in unison and moving into refreshing choreography. The scene’s aesthetic feels like Meg was taking a page out of the Beyoncé playbook, inspired by Bey’s 2011 “Dance for You.”

The Houston Hottie turns the neck of a martini glass into a stripper pole and she makes a lucky chair her dance prop. There’s plenty more twerking, and Meg even plays the role of Cupid in a corset and wings with a bow and arrow, searching for love.

Viewers who stayed until the very end of the video were in for a treat, as Megan left an Easter egg teasing what’s to come. Without much context, there’s an animal that appears to be a wolf growling in the darkness.

“Lover Girl” serves as Megan’s second single of 2025, following April’s “Whenever,” as she looks to be entering a new chapter of life with Thompson happily by her side. She pulled up to support her NBA boyfriend’s first game of the season earlier this week in Dallas.

Watch the “Lover Girl” video

Read the original article here.


[Image: Megan-Thee-Stallion-LOVER-GIRL-screensho...628&crop=1]]]> The only thing missing is a Klay Thompson cameo.
By Michael Saponara
Billboard 10/24/2025

Megan Thee Stallion is head over heels for Klay Thompson. The Houston Hottie gushes about her NBA boo throughout her new single, “Lover Girl,” and she delivered a stunning accompanying visual on Friday (Oct. 24).

Between the stylish ’90s glamour wardrobe, sharp visuals and storytelling, Megan spared no expense in this video.

A black-and-white clip finds Thee Stallion flanked by four women in lingerie twerking in unison and moving into refreshing choreography. The scene’s aesthetic feels like Meg was taking a page out of the Beyoncé playbook, inspired by Bey’s 2011 “Dance for You.”

The Houston Hottie turns the neck of a martini glass into a stripper pole and she makes a lucky chair her dance prop. There’s plenty more twerking, and Meg even plays the role of Cupid in a corset and wings with a bow and arrow, searching for love.

Viewers who stayed until the very end of the video were in for a treat, as Megan left an Easter egg teasing what’s to come. Without much context, there’s an animal that appears to be a wolf growling in the darkness.

“Lover Girl” serves as Megan’s second single of 2025, following April’s “Whenever,” as she looks to be entering a new chapter of life with Thompson happily by her side. She pulled up to support her NBA boyfriend’s first game of the season earlier this week in Dallas.

Watch the “Lover Girl” video

Read the original article here.


[Image: Megan-Thee-Stallion-LOVER-GIRL-screensho...628&crop=1]]]> <![CDATA[Selena Gomez gets real about her and Benny Blanco’s family plans after wedding]]> https://www.musicindustrypressreleases.com/press-releases/showthread.php?tid=12 Mon, 13 Oct 2025 01:16:04 +0000 MIPR]]> https://www.musicindustrypressreleases.com/press-releases/showthread.php?tid=12 By Sophia Melissa Caraballo Piñeiro
From PageSix Published Oct. 10, 2025, 11:04 a.m. ET

Selena Gomez is ready for her next role — being a mom.

In celebration of her finale episode on the “Wizards of Waverly Place” sequel, “Wizards Beyond Waverly Place,” she took to Instagram Story Thursday night with a sweet message.

“Alex Russo is a mommy,” she captioned a clip from the Season 2 finale, referring to her character.

“Hopefully one day that’ll be me.”

Gomez, 33, has been making brief cameos in the Disney+ show, which focuses on the new generation of wizards in Waverly Place, including a young Billie who is sent to live with Alex’s older brother, Justin, to be trained.

In the Season 2 finale, Billie is revealed to be Alex’s daughter — before Gomez’s character sacrifices herself by falling into a portal to save her family.

The “Kill Em with Kindness” singer’s post comes almost two weeks after she tied the knot with music producer Benny Blanco in an intimate California wedding.


Back in March, Gomez and Blanco said on the “Jay Shetty” podcast that they can’t wait to start a family together.

“I don’t know what will happen, obviously, but I love children,” Gomez told host Jay Shetty. “I love making [children] laugh; they’re just so sweet. So absolutely, when that day comes, I’m so excited for it.”

Blanco, who went public with Gomez in December 2023, doubled down on those hopes in a June interview with InStyle.

“I love kids; I love being an uncle. I want to be a dad, though, God willing,” he told the outlet, adding, “I’m just dreaming and praying every day.”

However, last year, the “Emilia Perez” actress revealed that she can’t carry her own children due to medical issues amid her battle with lupus.

Nonetheless, she confirmed to Vanity Fair in October 2024 that she would be interested in starting a family by using a surrogate or adopting.

“It made me really thankful for the other outlets for people who are dying to be moms. I’m one of those people,” she said at the time. “I’m excited for what that journey will look like, but it’ll look a little different.”

  [Image: selena-gomez-benny-blanco-82nd-100634633.jpg?w=1024]

[Image: benny-blanco-shares-behind-the-112405499...all&w=1024]

[Image: sammblake-photos-latest-post-went-112528....jpg?w=768]

[Image: sammblake-photos-latest-post-went-112528...=all&w=769]

[Image: www-instagram-com-p-dmv9y7ytxzx-108480768.jpg?w=1024]]]> By Sophia Melissa Caraballo Piñeiro
From PageSix Published Oct. 10, 2025, 11:04 a.m. ET

Selena Gomez is ready for her next role — being a mom.

In celebration of her finale episode on the “Wizards of Waverly Place” sequel, “Wizards Beyond Waverly Place,” she took to Instagram Story Thursday night with a sweet message.

“Alex Russo is a mommy,” she captioned a clip from the Season 2 finale, referring to her character.

“Hopefully one day that’ll be me.”

Gomez, 33, has been making brief cameos in the Disney+ show, which focuses on the new generation of wizards in Waverly Place, including a young Billie who is sent to live with Alex’s older brother, Justin, to be trained.

In the Season 2 finale, Billie is revealed to be Alex’s daughter — before Gomez’s character sacrifices herself by falling into a portal to save her family.

The “Kill Em with Kindness” singer’s post comes almost two weeks after she tied the knot with music producer Benny Blanco in an intimate California wedding.


Back in March, Gomez and Blanco said on the “Jay Shetty” podcast that they can’t wait to start a family together.

“I don’t know what will happen, obviously, but I love children,” Gomez told host Jay Shetty. “I love making [children] laugh; they’re just so sweet. So absolutely, when that day comes, I’m so excited for it.”

Blanco, who went public with Gomez in December 2023, doubled down on those hopes in a June interview with InStyle.

“I love kids; I love being an uncle. I want to be a dad, though, God willing,” he told the outlet, adding, “I’m just dreaming and praying every day.”

However, last year, the “Emilia Perez” actress revealed that she can’t carry her own children due to medical issues amid her battle with lupus.

Nonetheless, she confirmed to Vanity Fair in October 2024 that she would be interested in starting a family by using a surrogate or adopting.

“It made me really thankful for the other outlets for people who are dying to be moms. I’m one of those people,” she said at the time. “I’m excited for what that journey will look like, but it’ll look a little different.”

  [Image: selena-gomez-benny-blanco-82nd-100634633.jpg?w=1024]

[Image: benny-blanco-shares-behind-the-112405499...all&w=1024]

[Image: sammblake-photos-latest-post-went-112528....jpg?w=768]

[Image: sammblake-photos-latest-post-went-112528...=all&w=769]

[Image: www-instagram-com-p-dmv9y7ytxzx-108480768.jpg?w=1024]]]> <![CDATA[Taylor Swift’s ‘The Fate of Ophelia’ Breaks Spotify Record for Most Streams in a Sing]]> https://www.musicindustrypressreleases.com/press-releases/showthread.php?tid=7 Mon, 13 Oct 2025 00:56:18 +0000 MIPR]]> https://www.musicindustrypressreleases.com/press-releases/showthread.php?tid=7 By Steven J. Horowitz
Oct 9, 2025 1:20pm PT

Taylor Swift has broken yet another record with her new album “The Life of a Showgirl,” this time with lead single “The Fate of Ophelia,” which has surpassed Miley Cyrus’ “Flowers” for most streams in a single week on Spotify.

Cyrus previously broke the record in January 2024, racking up 101,838,799 streams in its opening seven-day period. “Flowers” also became the first song to reach the 100 million point faster than any other song ever has on the platform. The previous record-holder on Spotify was BTS’ “Butter,” which racked up 99.37 million streams in its first seven days before hitting the 100 million mark on its eighth day.

“Ophelia” performed strongly out of the gate, achieving the most streams in a single day in Spotify history when “Showgirl” was released on Oct. 3. She beat her own record for most-streamed song in a day after “Fortnight” came out in April 2024, accruing more than 25 million listens. That record was previously held by Adele, whose track “Easy on Me” got almost 20 million streams in Oct. 2021.

Swift celebrated her album release with another Spotify milestone, as “Showgirl” became the most-streamed album in a single day in 2025 less than 12 hours after its release. “Showgirl” had previously beaten the record for most pre-saves for an album with over five million advance adds.

Following the release of “Showgirl,” Swift has been promoting the album with appearances on “The Graham Norton Show,” “The Tonight Show Starring Jimmy Fallon” and “Late Night With Seth Meyers.” It’s expected that all 12 songs on “Showgirl” will occupy the top dozen spots on next week’s Billboard Hot 100.


[Image: Life-is-a-Song-1-e1759690401502.jpg?w=1000&h=667&crop=1]]]> By Steven J. Horowitz
Oct 9, 2025 1:20pm PT

Taylor Swift has broken yet another record with her new album “The Life of a Showgirl,” this time with lead single “The Fate of Ophelia,” which has surpassed Miley Cyrus’ “Flowers” for most streams in a single week on Spotify.

Cyrus previously broke the record in January 2024, racking up 101,838,799 streams in its opening seven-day period. “Flowers” also became the first song to reach the 100 million point faster than any other song ever has on the platform. The previous record-holder on Spotify was BTS’ “Butter,” which racked up 99.37 million streams in its first seven days before hitting the 100 million mark on its eighth day.

“Ophelia” performed strongly out of the gate, achieving the most streams in a single day in Spotify history when “Showgirl” was released on Oct. 3. She beat her own record for most-streamed song in a day after “Fortnight” came out in April 2024, accruing more than 25 million listens. That record was previously held by Adele, whose track “Easy on Me” got almost 20 million streams in Oct. 2021.

Swift celebrated her album release with another Spotify milestone, as “Showgirl” became the most-streamed album in a single day in 2025 less than 12 hours after its release. “Showgirl” had previously beaten the record for most pre-saves for an album with over five million advance adds.

Following the release of “Showgirl,” Swift has been promoting the album with appearances on “The Graham Norton Show,” “The Tonight Show Starring Jimmy Fallon” and “Late Night With Seth Meyers.” It’s expected that all 12 songs on “Showgirl” will occupy the top dozen spots on next week’s Billboard Hot 100.


[Image: Life-is-a-Song-1-e1759690401502.jpg?w=1000&h=667&crop=1]]]>