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Scooter Braun Steps Away From CEO Role at HYBE

Scooter Braun Steps Away From CEO Role at HYBE

Yahoo6 hours ago
Scooter Braun is transitioning his role at HYBE, the South Korean entertainment giant, moving from CEO of HYBE America to an advisory position that will have him joining the HYBE Board of Directors as a director and a senior adviser to chairman Bang Si-Hyuk. The move marks the end of a five-year run at HYBE, which is home to such K-pop acts as BTS and Katseye.
The news was announced to HYBE staffers on Monday when Braun dialed in from his vacation to notify employees that the move was 'in the works for quite some time,' according to a source who adds that the five-year plan was initiated with the sale of Braun's Ithaca Holdings to HYBE in 2021. Braun will remain active in current HYBE projects, like the just-launched girl group Katseye. Braun intimated that he 'isn't going anywhere' and will 'still help guide' the artists on the HYBE roster. During the call, Braun shared with the staff that when he set out for a career in music 25 years ago, it was after reading his friend David Geffen's biography The Operator. Today, as he closes the latest chapter of his career, he reminded his colleagues of what he's learned from Geffen: 'Follow your dreams and anything can happen.'
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Braun built his business managing music artists like Justin Bieber, Ariana Grande, J Balvin, Demi Lovato and The Kid LAROI under the SB Projects banner. In 2024, he stepped away from the management business, announcing his decision on social media, where he noted, 'I have been blessed to have had a 'Forrest Gump'-like life while witnessing and taking part in the journeys of some of the most extraordinarily talented people the world has ever seen. I'm constantly pinching myself and asking 'how did I get here?''
The exit from management coincided with a split from Bieber, which turned contemptuous, as THR reported in April, due to financial consequences triggered by the cancellation of Bieber's Justice tour in 2022. In not fulfilling his contractual obligation to AEG (the tour's promoter) and completing the concert dates, for which he received a $40 million advance, Bieber was left owing more than $20 million to AEG. Then-manager Braun, through his company, covered what was owed in the form of a loan at a highly favorable (to Bieber) rate. In addition, the two were partnered in a number of other businesses including a record label and film projects. Braun also helped secure a $200 million catalog deal for Bieber's songwriting interests, possibly the largest nest egg in music history for an artist under 30. (Worth noting: Hailey Bieber, who married Justin in 2018, recently sold her Rhode Beauty skin care brand to e.l.f. Beauty for $1 billion; Braun was a seed investor.)
The settlement between Braun and Bieber is now completed says a source, who adds that Braun's last act at HYBE was to close the book on the squabble.
Reps for Bieber and Braun declined to comment on the settlement.
Stepping into the CEO position in Braun's place and leading all day-to-day duties is Isaac Lee, who has been chairman of HYBE Latin America since November of 2023. Lee's new title is chairman and CEO of HYBE Americas. In addition to running HYBE's operations in Mexico, Miami and Medellín, Colombia, Lee will also have oversight of Nashville-based Big Machine Label Group (BMLG) and Quality Control Media Holdings, headquartered in Atlanta.
While Braun's next move is unclear, HYBE chief Bang Si-Hyuk commented, 'Scooter has been an extraordinary partner, a visionary executive, and a true catalyst for cultural exchange. His contributions have been vital in establishing our ambitious presence in the U.S. market. I am deeply grateful for his leadership, his astute instincts and his unwavering passion for artists. We wish him immense success in his exciting next chapter and look forward to continuing our partnership in executing HYBE's global vision.'
Braun also remains one of HYBE's largest individual shareholders. In announcing his new role, Braun said: 'Being a part of HYBE and witnessing its remarkable growth has been one of the most inspiring chapters of my professional journey. Chairman Bang is a true visionary and a musical genius. What he has built with HYBE is unparalleled. I am incredibly proud of our collective accomplishments and look forward to supporting Chairman Bang and CEO Jason Jaesang Lee in their continued success as I step into what's next.'
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On ‘Period,' the old Kesha is back. Again.
On ‘Period,' the old Kesha is back. Again.

Washington Post

time5 hours ago

  • Washington Post

On ‘Period,' the old Kesha is back. Again.

Kesha burst onto the music scene with a distinctive brand of blunt, electrifying pop that seemed designed to take the dance floor by sheer force. Then came the genre-hopping. It's nothing new for a pop star to pivot. Claiming maturity, sonic growth or the need to express something raw, musicians from Beyoncé to Lana Del Rey to Post Malone have recently asserted their indie, country or rock bona fides. It's rare for these pivots to go off without a hitch. For Kesha, a string of such sonic shifts have led to 'Period,' a semitransparent bid for yet another career reset. 'Period' is particularly confounding after 2023's 'Gag Order,' on which Kesha abandoned her party girl persona and reinvented herself as a purveyor of haunting, minimalist art pop. (Her earlier surprises include dabbling in rock on 2012's 'Warrior' and a collaboration with Dolly Parton on 2017's 'Rainbow.') The guttural, Rick Rubin-produced album marked Kesha's furthest jump from the Obama-era electropop that made her famous. It also marked the end of her association with former producer Dr. Luke, with whom she had been embroiled in a years-long defamation lawsuit, and his Kemosabe Records. Her first release on the newly founded Kesha Records, 'Period' seemed poised to get back to massive-sounding pop, with help from some of the producers behind recent smashes 'Brat' and 'Renaissance.' Instead the scattered, occasionally enthralling effort raises an awkward question: What happens when your influence is all over today's pop, but you don't have anything new to say? When 'Joyride,' the lead single for 'Period,' arrived last July, we were in the thick of 'Brat' summer. Kesha can confidently claim to be proto-' Brat,' but she still struggled to keep up with Charli XCX when adding a verse to the remix of 'Spring Breakers' this past fall. 'Joyride' thankfully isn't an attempt to blend in with the pop of the moment — just look at its strange klezmer-hyperpop instrumental. It does fall apart, though, when Kesha announces 'I am mother' in the second verse. The other explosive songs on 'Period' are stronger, especially when Kesha leans into the slapstick of seduction. Decorated with New Order-esque kick drums, the so-wrong-its-right narrative of 'Red Flag' thrills when Kesha's speak-singing recalls her breakthrough hits. With its bubbly keys and chirping vocal filters, the song's exuberant bridge could have been lifted from peak-era Black Eyed Peas or Addison Rae's latest. Before whispering that she's going to 'Eat 'em up like amuse-bouche,' Kesha ups the tempo on 'Boy Crazy,' a similarly bouncy, carefree anthem. Although advertised as a return to form, 'Period' is strikingly low on club-ready sing-alongs. Recent single 'Yippee-Ki-Yay' turns Kesha's long-standing interest in country music into a Shaboozey-like abomination. And she retreats to self-help clichés ('I've got a soul nobody can break') on 'The One,' over horns shrill enough to grace one of Jason Derulo's hits. Most frustrating is how headachingly loud the programmed percussion is across the album, often threatening to overwhelm whatever bland sentiment arrives in the lyrics. Despite those missteps, Kesha manages to chart at least one fresh path back to the party. She sounds firmly at home on the opener, 'Freedom,' which begins with a slap bass part and erupts into an unexpected hook featuring an inspiring gospel choir. With slinky pianos and Kesha's devious delivery of lines such as 'I only drink when I'm happy/ And I'm drunk right now,' it eventually wanders into house territory, a new destination for Kesha. As the only 'Period' song produced by frequent Father John Misty collaborators Jonathan Wilson and Drew Erickson, 'Freedom' rings like an opportunity. When it's time for Kesha's next pivot, she knows who to call.

A tale of two parks: One was a ‘poor boy's Disneyland,' the other had a Cobra Woman who was really a man
A tale of two parks: One was a ‘poor boy's Disneyland,' the other had a Cobra Woman who was really a man

Los Angeles Times

time5 hours ago

  • Los Angeles Times

A tale of two parks: One was a ‘poor boy's Disneyland,' the other had a Cobra Woman who was really a man

Here's a little story for summertime, a tale of two seaside amusement parks of days of olde: One eventually got itself a reputation as a rackety, unsavory hangout where you didn't have to look hard to find gambling, dive bars, tattoo parlors (back when nice people didn't go near them), and 'soiled doves,' what the Victorians called prostitutes. Notoriously, someone once found a corpse there — as a sideshow exhibit, not a murder victim. More about him presently. The other park, not far up the coast, was as perky and clean-cut as a barbershop quartet, painted the colors of sand and sky, with shipshape and jaunty ocean-inspired adventures, and zippy, futuristic, razzle-dazzle rides. Now, which one do you think lasted longer? It was the first one, the older one — the Pike, in Long Beach. It opened in 1902, when the electric cars first brought sweaty, landlocked Angelenos to the beach breezes and the Pike's carnival delights, like the fabled Cyclone Racer roller coaster that swooped its riders fast and furious above the water. It was finally done, and done in, in 1979, replaced by shops set among the Long Beach Convention Center and the Aquarium of the Pacific. The other one, Pacific Ocean Park, straddled the sand of Santa Monica and Venice. It opened in 1958, three years after Disneyland, and didn't last even 10 years. Santa Monica has seen amusement parks come and go over more than 120 years, but POP is of fairly recent and fond memory. That place should not to be confused with the much smaller Pacific Park that operates now on the Santa Monica pier, the heir to L.A.'s long beachfront amusement park heritage. POP was a creature of Cold War America. Westinghouse Electric Corp. built one display, a replica of the hull of the atomic-powered Nautilus submarine, with sound effects like an actual submarine at sea. A 'spaceship' theater 'took' the audience to Mars, to see the Red Planet and its imagined Martian residents. A 'house of tomorrow' [sound familiar, Disneyland fans?] ran on 'electronic age' conveniences with an 'artistic representation of the atomic city of tomorrow,' as the old Pomona Progress-Bulletin newspaper wrote in September 1958. An 'ocean skyway' ride took visitors in clear gondolas out over the Pacific surf. Zev Yaroslavsky, the L.A. native, longtime county supervisor, and city council member, still misses the place, even all these decades later. In elementary school, in junior high and high school, 'me and my buddies would take the bus out there, and we'd spend the day having fun. It was a great place to go with girls on whom we had a crush. It was the poor boy's Disneyland.' You entered through the watery darkness of the aquarium, and when you came out the other side, Yaroslavsky remembers, you were 'greeted by the bright sunshine on the pier with the attractions and the Pacific Ocean in my line of sight,' like being wafted from the humdrum to 'the exciting fantasy land of a shoreline amusement park.' 'I felt wronged when it closed, and I have missed it ever since.' In 1960, an FM station, KSRF – K-Surf – began broadcasting from POP, but it was POP's live dance shows that brought in big names and the crowds that followed them – Ritchie Valens, Sam Cooke, and the Beach Boys. Brian Wilson wrote a short foreword to the lavishly illustrated 2014 book 'Pacific Ocean Park.' The 1950s and '60s gave us a glut of amusement parks, and as with any boom, there was a bust. POP became one of the busted. Competition from that place in Anaheim was unrelenting. So too is sea air, and its assault on wood and metal and human-crafted things in general, and the price for keeping all of that at bay was untenable. Rides broke down and went un-repaired. City building projects messed up the roads into POP. By the autumn of 1967, POP was closed – ostensibly for repairs but in fact for good. The apocalyptic forces that work against amusement parks, neglect and fires, did their handiwork. As The Times wrote in February 1975, as the last of POP was being demolished, 'Sooner or later all dreams come to an end.' Yet the Pike soldiered on — rather, sailored on. In 1919, Long Beach became the home port for the nation's Pacific fleet of battleships, and in time, more ships followed. The Navy was big business for Long Beach, and for the Pike, where thousands of Navy 'gobs' stationed here spent some of their shore leave and their earnings. Like Las Vegas, the Pike, too, underwent an identity shift, if not a crisis. It too suffered from competition of more family-focused resorts. As parents took their kids holidaying at Disneyland or Knott's Berry Farm, the Pike was left more and more to grownups like boisterous sailors and footloose Angelenos and their tastes for pool rooms, bars, dance halls and sideshows. In 1946, a sideshow fixture billed as 'Miss Elsie Marks, the Cobra Woman,' died after her seven-foot diamondback rattlesnake bit her. That was the first big headline. The second was that 'the Cobra Woman' was in fact a 6-foot-3-inch man surnamed Nadir, who had traveled in circus sideshows over the years as, serially, 'the dog-faced boy,' then 'the monkey man' and 'the bearded lady.' The Pike's louche doings made for great newspaper copy. In 1914, the 'Duke of the Pike' — a debonair character who lived large, mostly on brash cheek and bad checks — finally got caught when his car broke down in Compton. He was asking the police chief to lend him $10 for repairs when a sergeant recognized him as a wanted man. The next year, a businessman who said he had simply wanted to show a young girl the sights on the Pike was arrested for breaking a local law delicately phrased by The Times as being 'in a certain state of mind when approaching an apartment house' where the girl was living on his largesse. In 1943, at the height of World War II, Deputy Dist. Atty. Ted Sten announced that gambling was going on on the Pike: 'I personally counted eight last night. There are wide-open crap games, and the only police down there are watching the merry-go-round.' In fact, the Pike was probably the most heavily policed part of Long Beach, but players will be players. In the 1950s, the Pike rebranded itself Nu-Pike, in a makeover that tried to snag more families as customers. That didn't rescue the Pike, nor did another new name for the area: Queen Park, after the ocean liner RMS Queen Mary, permanently anchored on the Long Beach landscape. Geography itself worked against the Pike, too. Beyond its actual borders, unsavory operations sprang up, but the whole stretch was identified as 'the Pike.' In 1965, as Long Beach began sprucing up the harbor, a dredging operation piled up a landfill at the edge of the Pike. In short order, the Pike was no longer at the beach. A man who ran a grill restaurant in the Pike's 'Fun Zone' told The Times in 1979 that 'they pushed the beach back so far they killed business.' By 1967, a columnist at the Long Beach Independent had to defend his town to an anonymous letter writer demanding an expose of Long Beach's gay bars and brothels, including the Pike, 'that nightmare alley with its rock-bottom characters and perverts in plain view … ' The columnist's retort was valiant but rather weak sauce: There are only three gay bars in Long Beach — down from nine two years before. At the 'notorious hotel' occupied by prostitutes, there was only one arrest there in the last six months. In 1979 the city had big plans that did not include the Pike. 'Nu-Pike May Be No Pike,' ran The Times' headline. Leases were not renewed. Attractions that hadn't already fallen down were knocked down. (A small museum of Pike artifacts survived in the Lite-A-Line game arcade in Long Beach, operated by the Looff family, which had run the same attraction at the Pike for decades. But even that closed, in 2022.) By 1979, too, one of the Pike's foremost attractions was already gone, first to the L.A. County coroner's office, and then to a graveyard in Oklahoma. In 1976, a wax dummy painted Day-Glo red was being moved around in the Laff in the Dark attraction when an arm fell off. Underneath was not more wax, but a human bone. The dummy was a mummy — the desiccated corpse of Elmer McCurdy. McCurdy was a B-list, turn-of-the-century outlaw, a ne'er-do-well train robber who was so lousy at his craft that he held up virtually empty trains instead of the gold-toting ones he thought he was targeting. He once blew up a train's safe that was full of loot, but the 'bang' fused all of the coins to the safe's inside walls. He was shot down by a sheriff's posse in Oklahoma in 1911. After that, his unclaimed body began its wanderings: as a greeter for an Oklahoma funeral home, as a sideshow attraction for touring carnivals, and even in a titillating 1933 pre-Code film, 'Narcotic.' (It wasn't a speaking role.) Once out of the carny racket, McCurdy became more famous in death than he had been in life. Times columnist Steve Harvey christened him the King Tut of the Tumbleweeds. McCurdy's post-posthumous credits: a BBC documentary, two biographies, a Celtic folk song, and a murder mystery weekend. He was buried in a historic cemetery in Guthrie, Okla. — under a two-foot layer of concrete, lest anyone be tempted to take him on tour again.

South Korea celebrates the transformative power of ‘Squid Game'
South Korea celebrates the transformative power of ‘Squid Game'

Los Angeles Times

time5 hours ago

  • Los Angeles Times

South Korea celebrates the transformative power of ‘Squid Game'

SEOUL — The third and final season of Netflix's 'Squid Game' broke viewership records on the streaming platform following its release on June 27, marking a fitting close for what has arguably been the most successful South Korean TV series in history. Although reviews have been mixed, Season 3 recorded more than 60 million views in the first three days and topped leaderboards in all 93 countries, making it Netflix's biggest launch to date. 'Squid Game' has been transformative for South Korea, with much of the domestic reaction focused not on plot but on the prestige it has brought to the country. In Seoul, fans celebrated with a parade to commemorate the show's end, shutting down major roads to make way for a marching band and parade floats of characters from the show. In one section of the procession, a phalanx of the show's masked guards, dressed in their trademark pink uniforms, carried neon-lit versions of the coffins that appear on the show to carry away the losers of the survival game. They were joined by actors playing the contestants, who lurched along wearing expressions of exaggerated horror, as though the cruel stakes of the game had just been revealed to them. At the fan event that capped off the evening, series creator Hwang Dong-hyuk thanked the show's viewers and shared the bittersweetness of it all being over. 'I gave my everything to this project, so the thought of it all ending does make me a bit sad,' he said. 'But at the same time, I lived with such a heavy weight on my shoulders for so long that it feels freeing to put that all down.' Despite the overnight global fame 'Squid Game' brought him (it's Netflix's most-watched series of all time), Hwang has spoken extensively about the physical and mental toil of creating the show. He unsuccessfully shopped the show around for a decade until Netflix picked up the first season in 2019, paying the director just 'enough to put food on the table' — while claiming all of the show's intellectual property rights. During production for the first season, which was released in 2021, Hwang lost several teeth from stress. A gateway into Korean content for many around the world, 'Squid Game' show served to spotlight previously lesser-known aspects of South Korean culture, bringing inventions like dalgona coffee — made with a traditional Korean candy that was featured in the show — to places such as Los Angeles and New York. The show also cleared a path for the global success of other South Korean series, accelerating a golden age of 'Hallyu' (the Korean wave) that has boosted tourism and exports of food and cosmetics, as well as international interest in learning Korean. But alongside its worldly successes, the show also provoked conversations about socioeconomic inequality in South Korean society, such as the prevalence of debt, which looms in the backstories of several characters. A few years ago, President Lee Jae-myung, a longtime proponent of debt relief, said, ''Squid Game' reveals the grim realities of our society. A playground in which participants stake their lives in order to pay off their debt is more than competition — it is an arena in which you are fighting to survive.' In 2022, the show made history as the first non-English-language TV series and the first Korean series to win a Screen Actors Guild Award, taking home three in total. It also won six Emmy Awards. That same year, the city of L.A. designated Sept. 17 — the series' release date — as 'Squid Game Day.' Although Hwang has said in media interviews that he is done with the 'Squid Game' franchise, the Season 3 finale — which features Cate Blanchett in a cameo as a recruiter for the games that are the show's namesake — has revived rumors that filmmaker David Fincher may pick it up for an English-language spinoff in the future. While saying he had initially written a more conventional happy ending, Hwang has described 'Squid Game's' final season as a sobering last stroke to its unsparing portrait of cutthroat capitalism. 'I wanted to focus in Season 3 on how in this world, where incessant greed is always fueled, it's like a jungle — the strong eating the weak, where people climb higher by stepping on other people's heads,' he told The Times' Michael Ordoña last month. 'Coming into Season 3, because the economic system has failed us, politics have failed us, it seems like we have no hope,' he added. 'What hope do we have as a human race when we can no longer control our own greed? I wanted to explore that. And in particular, I wanted to [pose] that question to myself.'

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