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15 hours ago
- Entertainment
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‘Boy George & Culture Club' Review: An Affectionate Look at the '80s Band and Its Flamboyant Frontman That Entertains but Treads Too Carefully
Earlier this month, The Hollywood Reporter published a sharp piece of cultural analysis titled 'Are Music and Other Celebrity Films Killing the Documentary?' Nonfiction filmmakers and programmers interviewed for the feature weighed in on the influence of the major streamers, shifting away from formal invention and probing investigation toward authorized, artist-friendly docs that function primarily as marketing, brand management and fan service. Alison Ellwood's Boy George & Culture Club is a solid example of this anodyne trend. It's candid but seldom reveals much that's fresh, as infectious as one of the Brit new wave band's earworm hits but about as weighty, too. Still, anyone with fond memories of Culture Club's heyday will likely be hooked from the moment the harmonica enters in the opening bars of 'Church of the Poison Mind,' still one of the catchiest bops of the 1980s, heard here in a concert performance that showcases the powerhouse backup vocals of Helen Terry. More from The Hollywood Reporter 'Outer Banks' Actor Jonathan Daviss to Star as Snoop Dogg in Universal Biopic Sony Music Publishing Acquires Hipgnosis Songs Group Finneas Says He Was Tear-Gassed at Los Angeles ICE Protest That song is a welcome reminder that while the band fronted with iconoclastic style by Boy George might have emerged out of the New Romantic scene, their musical influences ran from blue-eyed soul to reggae, Motown, calypso and even a dash of country on 'Karma Chameleon.' But although all four bandmates weigh in extensively in separate present-day interviews, the doc is disappointingly short on insight into how the music came together. As the film would have it, George wrote the lyrics — often displayed in candy-colored '80s-style graphics that mimic Culture Club album covers — while the tunes just sort of materialized once the musicians got together in the studio. There is of course something to be said for that kind of magical alchemy in a pop band. The name Culture Club itself is a reference to their unusually diverse makeup — a gay Irish lead vocalist; a Black Jamaican Brit bassist (Mikey Craig); a blond Englishman guitarist (Roy Hay); and a Jewish drummer from a punk background (Jon Moss). Perhaps one reason the four members are interviewed separately is that although they 'took some time' rather than officially breaking up in 1986 (and continued to tour on and off for three decades while also pursuing their own projects), the extent to which George's big personality and transgressive look overshadowed both his bandmates and the music itself — even his own vocal talent — seems to remain a mostly unaddressed sore point. Footage of the music video shoot for 'Karma Chameleon' on a Mississippi riverboat, with Mikey, Roy and Jon standing around looking uncomfortable in 19th century Southern gent finery, speaks volumes about the divide. Later, over a bonkers video for a rare ballad, 'Mistake No. 3,' which George describes as 'the pinnacle of our excess,' Hay observes: 'We were just like George's little dress-up things.' But it's hard to consider George insensitive when he looks back at it all through such a humorous lens. 'Yeah, I guess the other three felt like they'd been dragged into a gay circus,' he says with a chuckle. There's plenty of humor also in individual thoughts on their biggest but frothiest hit. 'I think we lost a lot of credibility with 'Karma Chameleon',' says Roy. 'But it's the thing we're remembered for.' Adds George: 'They say it was the nail in our cool coffin. But we were never cool! That song went to No. 1 and stayed there for weeks. Tortured everyone.' George acknowledges his dominant role but pretty much laughs off any frustration the other members might have felt. He comes across as a likeable, frequently very funny narcissist with a diva streak and an unapologetic sharp edge when challenged. That's not to say his soulful voice and attention-grabbing look were not the crucial ingredients in the band's 1982 breakthrough with the reggae-inflected single 'Do You Really Want To Hurt Me.' And nor do any of George's bandmates deny that he was their chief fame-driver. It's fun to learn how young working-class George O'Dowd transformed into fabulous Boy George, a fixture at clubs like Billy's and The Blitz, going from a punky blond dye-job at 16 or 17 to full drag within six months. The rise of David Bowie and Marc Bolan was formative, and he talks about the discovery of makeup as a liberation, taking inspiration from Siouxsie Sioux, Poly Styrene of X-Ray Spex and Ari Up from the Slits for the cascading dreadlocks. With his wide-brimmed hats, dramatic makeup and Technicolor muumuus, George couldn't help but become the focal point, and while the press mostly danced around the topic of his sexuality at first, he was dismissive of attempts to identify a political viewpoint in his androgynous persona. In one archival interview from the early days, he says they weren't trying to say anything with their music or fashion. In some ways, that's also reflective of Ellwood's doc, which touches on LGBTQ representation, homophobia and hypocrisy but does so with too little context or overarching perspective to be illuminating. It seems bizarre, for instance, that a film purporting to deal with these subjects in the first half of the '80s shows no curiosity about how the AIDS crisis might have fed into negative reactions. The band had reached its zenith, with Beatlemania-size crowds greeting them in Australia and Canada, and significant success cracking the American market. But the U.S. is where anti-gay sentiment gathered steam following George's 1984 Grammy Awards acceptance speech when Culture Club won for best new artist: 'Thank you, America. You've got taste, style and you know a good drag queen when you see one.' It seems inconceivable 40 years later (or would, if not for America's rabid neo-conservatism) that George referring to himself as a drag queen could spark scandalized pearl-clutching. But he says he was more amused than appalled when the family values mob started staging anti-LGBTQ protests outside concert venues. Moss provides a droll take on it when he recounts chatting with a Kansas fan who parroted one of the most widely used and offensive homophobic slogans, 'God Hates Fags.' When Moss asked the same person, 'Are you coming to the show?' they said, 'Oh yeah, we love Boy George.' In a Carson appearance, George points up the irony of being considered controversial in a country that had Liberace. The movie's most intimate thread concerns the relationship of George and Jon. George says it was 'love at first sight,' while Moss, who had never been romantically involved with a man, confesses to being 'absolutely smitten,' simultaneously confused and excited. Craig recounts his misgivings about their relationship potentially destabilizing the band. But by the time he voiced his concerns, Moss said it was too late since they had already slept together. 'We were the John and Yoko of the band for a while,' comments George about the resentment of the other two members. But while public displays of affection were the norm between them at the start, that stopped as soon as they had their first hit. Concerns grew that the 'secret' of their relationship being exposed could have a ruinous effect on the band. But the doc is inconclusive about the degree to which homophobia drove the backlash or factored in negative reviews of Culture Club's rushed third album, Waking Up With the House on Fire. (I was living in London during those years and have to admit I had always assumed George's sexuality and his relationship with Jon — an important gay dreamboat at the time — were common knowledge.) There are poignant moments in which Moss looks back on the relationship ('It was really proper love') and shares the painful process of getting out of it for his self-preservation, while George conveys a more equivocal view, albeit with sadness. One of the major contributing factors to its end appears to have been George's drug addiction, graduating from weed to heroin in a matter of weeks. The doc is frank about that dark period and George's erratic behavior as he began hanging out and getting wasted with fellow genderqueer '80s Brit-pop star Marilyn. George's drug use became tabloid fodder, with Rupert Murdoch's The Sun predicting he'd be dead before the year was over. Craig and Hay felt hurt at the time when they were excluded while George and Jon (as well as Marilyn) were invited to participate in the all-star recording of Bob Geldof's No. 1 Band Aid single, 'Do They Know It's Christmas?' And all three other members express regret about George's indecision costing the group a spot in the lineup for the historic marathon Live Aid concert at London's Wembley Stadium. George sought treatment after multiple friends died of overdoses — including one in the Culture Club singer's Hampstead mansion — and has been clean now for more than a decade. Is he contrite about the role his drug addiction played in the band's devolution? Maybe a little, though in his outsize blue velvet bowler and Liz Taylor Cleopatra eye makeup, he mostly comes across as a charming rascal, with not much use for guilt. That made him a great pop star though probably a difficult boyfriend and not the most egalitarian of band members. Ellwood gives Culture Club and its colorful frontman an affectionate salute that should please fans, even if, unlike the director's more forthright 2020 Showtime doc, The Go-Gos, she generally chooses diplomacy over a deep dive. Best of The Hollywood Reporter 13 of Tom Cruise's Most Jaw-Dropping Stunts Hollywood Stars Who Are One Award Away From an EGOT 'The Goonies' Cast, Then and Now
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18 hours ago
- Business
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Music Industry Moves: Sony Music Publishing Acquires Hipgnosis Songs Group
Sony Music Publishing will take ownership of Hipgnosis Songs Group, Variety has confirmed. Terms of the deal were not disclosed. The deal includes songs from Sabrina Carpenter, Blake Mills, My Morning Jacket, Alex Warren, St. Vincent, Kali Uchis and more, with Sony Music Publishing taking over Hipgnosis Songs' publishing and third-party administration businesses. This news was first reported by acquisition comes on the heels of Hipgnosis rebranding to Recognition Music Group in March, which folded the Hipgnosis Songs Fund and Hipgnosis Songs Assets into the new group. More from Variety Music Industry Moves: HarbourView Acquires Royalty Rights From Michael Jackson, Justin Bieber Producer Rodney 'Darkchild' Jerkins Lenny Tavárez, Sony Music Publishing and More Recognized at 2025 SESAC Latina Music Awards: Complete Winners List Music Industry Moves: Kesha Launches New Community Platform Smash In 2024, Hipgnosis struck two enormous deals: the sale of the Hipgnosis Songs Fund to financial behemoth Blackstone for $1.6 billion, after which founder Merck Mercuriadis exited and Blackstone took the then-publicly traded company private. The second was Hipgnosis' issuance of $1.47 billion in bonds backed by royalties of music from the Red Hot Chili Peppers, Bon Jovi, 50 Cent and year 'marked a pivotal transition for the company with the Hipgnosis entities coming under common ownership and the completion of a landmark $1.47 billion financing – demonstrating strong investor conviction in the asset class,' Qasim Abbas, head of tactical opportunities international for Blackstone, said at the Variety reported last year, Hipgnosis helped drive up the price of music catalogs through its purchases, paying top dollar to a large number of top producers and songwriters for their work. The market then followed suit, driving up the value of catalogs enormously — Hipgnosis paid a reported $100 million for half of Neil Young's songs catalog. In separate deals Bob Dylan and Bruce Springsteen reportedly were paid as much as four to six times that — but Hipgnosis grew overextended as investors questioned the company's ability to exploit the catalogs it had Music Publishing is the largest such company in the world, with 6.63 million songs in its catalog as of March 31, according to the most recent available data. + HarbourView, the content-focused investment firm founded in 2021, has announced $500 million in debt financing via the financial conglomerate KKR. Last year, the two companies struck a similar deal, also for $500 million.'This additional capital from KKR will help us accelerate our strategy to align with where the media, sports and entertainment markets are headed,' HarbourView Founder and CEO Sherrese Clarke said in a year, it was announced HarbourView would be financing a Queen Latifah biopic. Earlier this year, it purchased the rights to T-Pain's catalog, along with certain assets from Grammy-winning producer Rodney Jerkins. The company's catalog includes music from Brad Paisley, Justin Bieber, Olivia Rodrigo and Cardi B and hits like Pat Benatar's 'Hit Me With Your Best Shot' and Nelly's 'Hot in Herre,' the latter as part of a $50 million deal.'In the industrialized revolution, we're going from horse and buggy into motorized cars,' Clarke told Variety's 'Strictly Business' podcast last year. + Cooking Vinyl, home to Billy Bragg, Roger Waters, the Jesus and Mary Chain and many more iconic artists from the UK and beyond, is being acquired by the U.S.-based Exceleration Music, the companies have has struck deals with numerous companies including its acquisition of Redeye in 2023, the acquisition of Kill Rock Stars and a 'financial alliance' with Mom+Pop Music in 2022 and acquiring Bloodshot Records in 2021, among others. One of the company's earliest deals was with Chicago-based blues stalwart Alligator Records in was founded in 2021 by former Concord Music Group CEO Glenn Barros along with Amy Dietz, John Burk, Charles Caldas and Dave Hansen with 'substantial investment capital,' according to Music Business Worldwide.'It's great to see the music industry being embraced by the investment world. Not so long ago, most investors thought this industry was finished,' Barros said at the time. 'But this influx of capital has in many ways turned music into a commodity to be traded like any other financial asset.' Best of Variety 25 Hollywood Legends Who Deserve an Honorary Oscar New Movies Out Now in Theaters: What to See This Week Emmy Predictions: Animated Program — Can Netflix Score Big With 'Arcane,' 'Devil May Cry' and the Final Season of 'Big Mouth?' Error while retrieving data Sign in to access your portfolio Error while retrieving data Error while retrieving data Error while retrieving data Error while retrieving data
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21 hours ago
- Entertainment
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Cardi B Named ‘Voice Of The Culture' At 2025 ASCAP Rhythm & Soul Awards
Ahead of the 2025 BET Awards, the unsung heroes of Hip-Hop and R&B — a.k.a. songwriters and producers— were honored at this year's ASCAP Rhythm & Soul Awards. Held at the Beverly Hills Four Seasons on Sunday (June 8), the hitmakers gathered to celebrate various achievements. The Voice of the Culture Award is presented to Cardi B, set aside for those who've had a massive influence on music and culture. Past recipients of the award include Timbaland, Swizz Beatz, D-Nice and T.I. When the Bronx-bred emcee took the stage, she was overjoyed and gracious. 'My voice has always been a reflection of what I live and what I'm living, which I feel is a true reflection of the people, the culture, my friends, my family, and the environment that I grew up in,' gushed the Grammy-winning rapper. 'I like to put that in my music— my joys, my pains, my drama, everything.' She continued, 'I hate the idea that if you don't write every line on your own, it makes what you have to say not real. Music is a collaboration, it has always been. The biggest hits [and] the greatest records come from teamwork. They come from sharing experiences, energy, pain and joy. It's not about ego, it's about impact. I write, I co-write, I rewrite. I speak to what's true to me. My pen, my mind and my feelings are in every verse and in every hook. I respect every writer who brings their magic to the table. This award is not just for me, it's for the culture.' Cardi's hit, 'Enough (Miami)' also snagged an ASCAP Rhythm & Soul Award. The rapper made history back in 2020 as the first woman to receive the esteemed ASCAP Rhythm & Soul Songwriter of the Year Award for two consecutive years. Kendrick Lamar and Mustard's 'Not Like Us' was named ASCAP R&B/Hip-Hop and Rap Song of the Year while songwriter OZ was given the ASCAP Rhythm & Soul Songwriter of the Year honor, for contributing to hits like Drake and J. Cole's 'First Person Shooter,' Jack Harlow's 'Lovin On Me,' and Travis Scott's 'I Know?' Cece Winans' 'That's My King,' was named ASCAP Rhythm & Soul Gospel Song of the Year, and Sony Music Publishing took home the coveted honor of ASCAP Rhythm & Soul Publisher of the Year. See full list of winners below. VOICE OF THE CULTURE AWARD: Cardi B SONGWRITER OF THE YEAR: Ozan 'OZ' Yildirim R&B, HIP-HOP AND RAP SONG OF THE YEAR: 'Not Like Us' Writer: Dijon 'Mustard' McFarlane Publishers: Pay DJ Mustard, Sony Music Publishing GOSPEL SONG OF THE YEAR: 'That's My King' Writers: Taylor Agan, Kellie Besch Publisher: Essential Music Publishing LLC, Bridge Worship, CURB|Word Music Publishing, Kellie Besch Music, Taylor Agan Publishing PUBLISHER OF THE YEAR: Sony Music Publishing MOST PERFORMED R&B/HIP-HOP AND RAP SONGS: 'A Bar Song (Tipsy)' Writers: Shaboozey, Sean Cook, J-Kwon, Joe Capo Kent, Mark 'Tarboy' Williams Publishers: Sony Music Publishing, Essancy Music, LLC, Seeker Music, Hood Hop Music, Kreshendo, Range Music Partners, Tarpo Music Publishing, Warner Chappell Music 'Agora Hills' Writer: Jean-Baptiste Kouame Publishers: Kobalt Music Publishing, Lord Pharaoh JB Music 'BAND4BAND' Writers: Central Cee, geenaro, Dominique 'Lil Baby' Jones, Ghana Beats Publishers: Quality Control QC Pro, Sony Music Publishing, Universal Music Publishing Group, Warner Chappell Music, Wolf Pack Global Music Publishing 'CARNIVAL' Writers: Playboi Carti, Dimitri 'Rich The Kid' Roger Publishers: Cash Carti Music, Concord Music Publishing, RichTheKid Publishing, Sony Music Publishing, These Are Songs Of Pulse 'Enough (Miami)' Writers: Cardi B, Javaan 'Spades Saratoga' Anderson, Joshua 'OG' Parker, James 'DJ Swanqo' Steed, Terence 'Romano' Williams Publishers: Concord Music Publishing, Eeeooowww Music, Feels Like Summer Ent, Galixee Management LLC, Giant Tac Publishing, Mogul Mentality Publishing, OG Parker Productions, Sony Music Publishing, Tee Romano Music, These Are Songs Of Pulse, Warner Chappell Music 'Everybody' Writers: Jesper Mortensen, Lil Uzi Vert Publishers: Perfect Luv Publishings, Sony Music Publishing, Warner Chappell Music 'Fe!N' Writer: Playboi Carti Publishers: Cash Carti Music, Sony Music PublishingFirst Person Shooter Writers:Anderson 'Vinylz' Hernandez, Matthew 'Boi-1Da' Samuels, Ozan 'OZ' YildirimPublishers:1Damentional Publishing, Kobalt Music Publishing, Sony Music Publishing, Virgoat, Warner Chappell Music 'Ftcu' Writer: Waka Publisher: Warner Chappell Music 'Get In With Me' Writer: Donte 'DXNTEMADEIT' Ononiewu Publisher: Sony Music Publishing 'Get It Sexyy' Writers: Jamaal 'SVPA' Parker, Sexyy Red Publishers: BigSexyyPublishing, Sony Music Publishing, Gulf Shore Worldwide Publishing, Sony Music Publishing, Payday Publishing, Warner Chappell Music 'I Know ?' Writers: Buddy Ross, Ozan 'OZ' Yildirim Publishers: Heavy Duty Music, Kobalt Music Publishing 'IDGAF' Writers: Benjamin 'BNYX®' Saint Fort, John Taylor, Norma Winstone Publisher: Sony Music Publishing 'IDGAF' Writers: Darrel 'Chopsquad DJ' Jackson, Terry 'Tee Grizzley' Wallace Publishers: Bangerz Music Group LLC, Presciption Songs, It's Only About Music LLC, Kobalt Music Publishing, Prescription Songs 'Kehlani' Writers: Ali 'Prodbyli' Abouzeid, Roark Bailey, Boobie, Summer Walker Publishers: Artist Publishing Group, Eucalipto Music, Foundation Music Publishing, Kobalt Music Publishing, LVRN Publishing, Sundaemorning, Warner Chappell Music 'Like That' Writer: MC Ren 'Lose Control' Writer: Joshua 'Ammo' Coleman Publishers: Each Note Counts, Kobalt Music Publishing, Prescription Songs 'Lovin On Me' Writers: Nik D, Nickie Jon Pabón, Ozan 'OZ' Yildirim Publishers: Kobalt Music Publishing, Roc Nation Music, Sony Music Publishing, Universal Music Publishing Group 'Made For Me' Writers: Muni Long, Jermaine Dupri Publishers: 2316Music, Sony Music Publishing, Warner Chappell Music 'Million Dollar Baby' Writers: Mannyvelli, Terrance 'Sparkheem' Davis, Gidi, Tommy Richman, Jonah Roy Publishers: EVERYTHINGISPUNK, Iso Global, Kobalt Music Publishing, Mannyvelli, Sony Music Publishing 'Mmhmm' Writers: Charles Forsberg, William B Shelby, Stephen Shockley, Leon F. Sylvers III Publishers: Artist Publishing Group, BMG, Kobalt Music Publishing, Mammyth Audio LLC, Reservoir 'Never Lose Me' Writers: 42 Dugg, Hitoshi Kirigaya Publishers: Sony Music Publishing, Warner Chappell Music 'prove it' Writers: 21 Savage, Tauren 'KNGS' Stovall, Keith Thomas, Summer Walker Publishers: LVRN Publishing, SMCK Media Group, Slaughter Gang, Small Piece Publishing, Warner Chappell Music 'Redrum' Writer: 21 Savage Publishers: Slaughter Gang, Warner Chappell Music 'Residuals' Writers: Jeremiah 'Jerry' Green, Darius Logan, Dominique Logan, Dewain Whitmore, Jr. Publishers: 8Sixteen Music, Emiyah Janay Music Publishing, Jeremiah Green Music, Kobalt Music Publishing, Seven Peaks Music, Sky Walker, Songtrust 'Saturn' Writers: Cian Ducrot, Jared Solomon, Scott Zhang Publishers: Solomon Gouda, Sony Music Publishing, Warner Chappell Music 'Sensational' Writer: Olalekan 'Lojay' Osifeso Publisher: Sony Music Publishing 'Shake Dat Ass (Twerk Song)' Writers: HardKnock Publishers: Lassila Publishing, Lush Music 'Soak City (Do It)' Writers: Donovan 'Donez' Edwards, 310babii, Raymond 'Kreepteam' Oviedo Publishers: 310Babii Publishing, BeatStars Publishing, EMPIRE SF, Sony Music Publishing 'Surround Sound' Writer: 21 Savage Publishers: Slaughter Gang, Warner Chappell Music 'Texas Hold 'Em' Writers: Brian 'Killah B' Bates, Lowell, Megan Bülow, Nathan Ferraro, Beyoncé, Raphael Saadiq Publishers: Artist Publishing Group, Arts & Crafts Music, Kobalt Music Publishing, Oakland 13 Music, Sony Music Publishing, THEILLESTMUSICGROUP, Ugmoe Music, Universal Music Publishing Group 'TGIF' Writers: Lucas Alegria, Dillon Brophy, Jess Jackson, Ronnie 'Lil Ronnie' Jackson, Mario 'Yo Gotti' Mims, Jorge 'Ace' Taveras Publishers: Dillon Brophy Publishing, Einnor Music Publishing, Gotti World Publishing, Jess Jackson Publishing, JKSN PUBLISHING, Kobalt Music Publishing, Warner Chappell Music 'Timeless' Writers: Playboi Carti, Lawson, Tariq 'BL$$D' Sharrieff Publishers: Blessed By BL$$D Publishing, Honua Music Group, Kobalt Music Publishing, Lawst Music 'Type Shit' Writer: Playboi Carti Publishers: Cash Carti Music, Sony Music Publishing 'Wanna Be' Writers: Ace Charisma, Ronnie 'Lil Ronnie' Jackson, Lil Wil, Mario 'Yo Gotti' Mims, Chadron Moore, Elimu Tabasuri, Jorge 'Ace' Taveras Publishers: Einnor Music Publishing, Sony Music Publishing, It's A Big E Beat, It's Only About Music LLC, Regina's Son Music, Turn That Heat Up, Payday Publishing, VI Rudebwoy Publishing 'Whatever She Wants' Writer: Wyman Boyd Publisher: In Roberto's Name Music 'Worth It' Writers: Javaan 'Spades Saratoga' Anderson, U-Roy, Kiari 'Offset' Cephus, Everett 'Heavy Mellow' Romano, Cory Rose Publishers: Doorway Studios, Feels Like Summer Ent, JPL QC Music, Reservoir, Warner Chappell Music, YRN Piped Up Ent 'Yeah Glo!' Writers: Ronnie 'Lil Ronnie' Jackson, Morris 'Moe' Jones, Timothy 'B100' McKibbins, Stephen 'Steve-T' Towns Publishers: B100Publishing, Butter In The Field Music, Einnor Music Publishing, Musiq Committee, Sony Music Publishing 'You Broke My Heart' Writers: Anderson 'Vinylz' Hernandez, Alexander Morand Publishers: Virgoat, Warner Chappell Music MOST PERFORMED GOSPEL SONGS: 'Able' Writer: Marvin L Winans Publisher: Marvin L Winans Music 'God Be Praised' Writer: Warryn 'Baby Dubb' Campbell Publisher: Sony Music Publishing 'God Is' Writer: Warryn 'Baby Dubb' Campbell Publishers: Anthem Music Publishing II, Sony Music Publishing 'I See Good' Writer: Anthony Brown Publishers: Key Of A Music Publishing, Warner Chappell Music 'I Will Wait' Writers: Kayton Bassier, David 'Ali' Parrilla Publishers: DRUMMERSINCE1978, KAYTONIC 'In The Room' Writer: Tasha Cobbs Leonard Publishers: Capitol CMG Genesis, Meadowgreen Music Company, Tasha Cobbs Music Group 'Look At God' Writers: Isaiah 'Pyro' Campbell, Christopher 'Xavier Wright' Gales, Munson W. Steed Publishers: Missing Link Music, O Wow Entertainment, Skye Unlimited, Xavier Write's Publishing 'Only One Night Tho' Writer: Tye Tribbett Publishers: Greater Anointing Stuff Music, Kobalt Music Publishing 'Speak Your Name' Writer: Anthony Brown Publishers: Key Of A Music Publishing, Tyscot Music, Warner Chappell Music More from SiR Claims Drake, Kendrick Lamar Beef Resulted In Toronto Concert Cancellation Offset Reacts After Son And Cardi B's New Man, Stefon Diggs, Get Matching Braids Cardi B Shares More Murderous Thoughts About Her Estranged Husband Offset
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a day ago
- Entertainment
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Sony Music Publishing Acquires Hipgnosis Songs Group
Sony Music Publishing has acquired Recognition Music Group's publishing and administration company Hipgnosis Songs Group, The Hollywood Reporter has confirmed. The acquisition comes five years after Recognition Music Group — which used to be known as Hipgnosis Songs Fund until the company rebranded three months ago — purchased music publisher Big Deal Music in 2020, rebranding that company as Hipgnosis Songs Group shortly after. Hipgnosis Songs has stakes in hits like Alex Warren's 'Ordinary,' and Sabrina Carpenter's 'Espresso' and 'Bed Chem' among others. The publishing company is the only asset Sony acquired from Recognition. More from The Hollywood Reporter 'Boy George & Culture Club' Review: An Affectionate Look at the '80s Band and Its Flamboyant Frontman That Entertains but Treads Too Carefully Trump's Trade War Will Loom Large Over the Banff World Media Fest HBO's 'Harry Potter' Casts 9 More Roles, Including Draco Malfoy Recognition Music was originally founded by music executive Merck Mercuriadis, with Mercuriadis leaving last year after private equity company Blackstone purchased the company. Recognition had been a major driver in the music acquisition boom of the past six years, with the company buying up catalogs from superstars like Justin Bieber, Neil Young, Mark Ronson, the Red Hot Chili Peppers and Shakira among others. Those were not part of the Sony acquisition, and Recognition still owns those catalogs. The news was first reported by Billboard. In an email addressed to Hipgnosis's songwriters, composers and clients and obtained by THR, Sony said it was acquiring Hipgnosis Songs Group 'effective immediately,' and that 'over the next few months, we will be transitioning the company to SMP's services and systems.' 'With a unique roster of contemporary songwriters and timeless classics, HSG aligns with SMP's mission to elevate and support the work of the world's most impactful songwriters, and we are honored to represent you and your songs,' Sony wrote. As the transition begins, writers' royalty payments will continue to be administered through Hipgnosis for now, Sony said. 'We look forward to working with you in this next chapter,' Sony said. Read the full email below: Dear Hipgnosis Songs Group Songwriters, Composers and Clients:On behalf of Sony Music Publishing ('SMP'), we are pleased to inform you that Sony Music Publishing has entered into an agreement with Recognition Music Group ('RMG') to acquire its subsidiary Hipgnosis Songs Group ('HSG'), effective immediately. With this agreement, Sony Music Publishing now owns and administers the Hipgnosis Songs Group catalog, serving as the full-service publisher for its clients and roster of songwriters globally. With a unique roster of contemporary songwriters and timeless classics, HSG aligns with SMP's mission to elevate and support the work of the world's most impactful songwriters, and we are honored to represent you and your the next few months, we will be transitioning the company to SMP's services and systems. We are working closely with HSG to ensure that all clients will receive the high level of service that you have come to expect. No further action is required from you at this the meantime, your current HSG team remains available to address questions or creative inquiries. You can also reach HSG at HSGcreativeteam@ For the time being, your royalty payments will continue to be processed and distributed through HSG's system and your current account access remains unchanged. We will reach out to you directly with important transition updates as they more information, you may contact our team by emailing SMP_HSGsupport@ or by calling our royalty hotline at 615-726-8326. Additional songwriter resources can also be found at you. We look forward to working with you in this next Sony Music Publishing Team Best of The Hollywood Reporter Most Anticipated Concert Tours of 2025: Beyoncé, Billie Eilish, Kendrick Lamar & SZA, Sabrina Carpenter and More Hollywood's Most Notable Deaths of 2025 Hollywood's Highest-Profile Harris Endorsements: Taylor Swift, George Clooney, Bruce Springsteen and More
Yahoo
2 days ago
- Entertainment
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2025 ASCAP TOP RHYTHM & SOUL MUSIC AWARD WINNERS INCLUDE R&B/HIP-HOP AND RAP SONG OF THE YEAR "NOT LIKE US,"GOSPEL SONG OF THE YEAR "THAT'S MY KING," SONGWRITER OF THE YEAR OZ AND PUBLISHER OF THE YEAR SONY MUSIC PUBLISHING
Multiplatinum, Grammy-Winning Superstar Cardi B Receives ASCAP Voice of the Culture Award NEW YORK, June 8, 2025 /PRNewswire/ -- ASCAP, the American Society of Composers, Authors and Publishers, announces the winners of the 2025 ASCAP Rhythm & Soul Music Awards. Kendrick Lamar's monster hit "Not Like Us" earns the ASCAP R&B/Hip-Hop and Rap Song of the Year. Co-written by Mustard and published by Pay DJ Mustard and Sony Music Publishing, the song topped the Billboard Hot 100 chart, earning a historic milestone as the first ever rap song to spend 52 consecutive weeks on the chart. Released in May 2024, the song continues to clinch a seat at number 23 on the Billboard Hot R&B/Hip-Hop Songs chart and has surpassed over 1 billion streams on Spotify. Multiplatinum, Grammy-winning superstar Cardi B is honored with the prestigious ASCAP Voice of the Culture Award, which is presented to ASCAP members who have had a major influence on music and culture and for their success as creators and changemakers. She also wins an ASCAP Rhythm & Soul award for her song "Enough (Miami)." Cardi B made history in 2020 as the first woman to receive the esteemed ASCAP Rhythm & Soul Songwriter of the Year Award two years in a row, adding to her multiple ASCAP accolades, including eight ASCAP Pop Music Awards and a whopping 23 ASCAP Rhythm & Soul Music Awards. Today, Cardi B accepted the esteemed award from ASCAP Executive Vice President & Head of Creative Membership, Nicole George-Middleton at an invitation-only VIP event in Los Angeles, celebrating ASCAP Rhythm & Soul songwriters. Multiple Grammy-nominated producer and songwriter, OZ, is this year's ASCAP Rhythm & Soul Songwriter of the Year. The Swiss-native songwriter scored big this year with wins for "First Person Shooter" (Drake), "Lovin On Me" (Jack Harlow) and "I KNOW ?" (Travis Scott). ASCAP Rhythm & Soul Gospel Song of the Year goes to "That's My King" (Cece Winans), co-written by Taylor Agan and Kellie Besch and published by Bridge Worship, CURB|Word Music Publishing, Essential Music Publishing, Kellie Besch Music and Taylor Agan Publishing. SONY Music Publishing earns ASCAP Rhythm & Soul Publisher of the Year for songs including "A Bar Song (Tipsy)" (Shaboozey), "Million Dollar Baby" (Tommy Richman), "Enough (Miami)" (Cardi B), "BAND4BAND" (Central Cee & Lil Baby), "Yeah Glo!" (GloRilla), "Saturn" (SZA), "Get It Sexyy" (Sexyy Red), "Texas Hold 'Em" (Beyoncé), "Made for Me" (Muni Long), and "Residuals" and "Sensational" (Chris Brown). Additional 2025 ASCAP Rhythm & Soul Award-winning songwriters include 21 Savage ("prove it," "Redrum," "Surround Sound"), Offset ("Worth It"), Lil Uzi Vert ("Everybody"), Tee Grizzley ("IDGAF"), Playboi Carti ("Carnival," "Fe!N," "Timeless"), Tasha Cobbs Leonard ("In the Room"), Tye Tribbett ("Only One Night Tho") and more. A full list of 2025 ASCAP Rhythm & Soul Music Award winners is available at: The ASCAP Rhythm & Soul Music Awards recognize the songwriters and publishers of the most-performed songs of the past year based on Luminate data for terrestrial and satellite radio and streaming services, as specified by the ASCAP Rhythm & Soul Music Awards rules. EVENT IMAGES HERE(Photo credit:for ASCAP) About ASCAPThe American Society of Composers, Authors and Publishers (ASCAP) is a membership association of more than one million songwriters, composers and music publishers, and represents some of the world's most talented music creators. Founded and governed by songwriters, composers and publishers, it is the only performing rights organization in the U.S. that operates on a not-for-profit basis. ASCAP licenses a repertory of over 20 million musical works to hundreds of thousands of businesses that use music, including streaming services, cable television, radio and satellite radio and brick and mortar businesses such as retail stores, hotels, clubs, restaurants and bars. ASCAP collects the licensing fees; identifies, matches and processes trillions of performances every year; and returns nearly 90 cents of every dollar back to its members as royalties. The ASCAP blanket license offers an efficient solution for businesses to legally perform ASCAP music while respecting the right of songwriters and composers to be paid fairly. ASCAP puts music creators first, advocating for their rights and the value of music on Capitol Hill, driving innovation that moves the industry forward, building community and providing the resources and support that creators need to succeed in their careers. Learn more and stay in touch at on Twitter and Instagram @ASCAP and on Facebook. View original content to download multimedia: SOURCE ASCAP - American Society of Composers, Authors and Publishers Sign in to access your portfolio
