Vanessa Picken has been named chair and CEO of Sony Music Australia and New Zealand, the company announced Tuesday (June 14). Picken will start in the role in September, reporting to Sony Music Group chairman Rob Stringer.

In her new role, Picken will oversee all operations, artist signings, marketing and business partnerships out of the company’s Sydney office. She will also be responsible for striking new partnerships for artists with other Sony companies and identifying opportunities for artists across various entertainment mediums including music, TV, film, podcasting and gaming.

Picken arrives at SME Australia and New Zealand from [PIAS] in Los Angeles, where she held the role of managing director and led the growth and restructure of the company’s label group and distribution business. During her time in the role, Picken played a key role in repertoire and campaign development for artists including Arlo Parks, Day Wave, Röyskopp, Lykke Li, Mykki Blanco and Geese. Prior to being elevated to managing director, she ran digital strategy at [PIAS] across America, Asia, Australia and New Zealand.

In addition to her roles at [PIAS], Picken founded digital agency and label services company Comes With Fries, which has provided creative, digital marketing and media services to indie artists, managers, labels, organizations and brands including Powderfinger, Placebo, Support Act, Nettwerk Music Group, Red Bull Records, So Recordings, Jess Mauboy, Strange Talk, The Chats, Confidence Man and Speedy Wunderground. Picken is also the co-curator of Fastforward Sydney, a music technology conference for industry leaders.

Picken kicked off her music industry career in 2006 with a five-year stint at EMI Music Australia, where she worked with the label’s local and international artists.

The new hire comes roughly a year after Pickens’ predecessor in the chair and CEO role, Denis Handlin, stepped down from his post after nearly 40 years of leadership following a bombshell report in The Sydney Morning Herald that detailed allegations of discrimination, bullying and harassment at Sony Music Australia under his leadership. In April that year, SME Australia terminated veteran executive Tony Glover – then serving as the company’s vp of commercial music – after an investigation found that he had engaged in “inappropriate behavior” with staffers.

Handlin’s departure was announced by Stringer, who said at the time, “It is time for a change in leadership. And I will be making further announcements in terms of the new direction of our business in Australia and New Zealand in due course.” It was later reported that Sony Music had hired an Australia-based external counsel to handle ongoing investigations into the company’s workplace culture.

In a statement on Picken’s hire, Stringer noted that the company brought her aboard “after a careful and thorough recruitment process. Her impressive background covers so many areas of the modern music business in Australia and New Zealand and her recent leadership experience in the United States adds a global understanding to those existing skills.”

Added Picken, “I’m delighted to be coming home to join Sony Music Australia and New Zealand to take the company into a transformative next chapter. Our strategies will focus on music, allyship, and innovation, with a global mindset.”

Shares of HYBE fell 27.5% in early trading Wednesday morning following Tuesday’s news the Korean company’s cornerstone act, K-pop superstars BTS, will take time off for its seven members to pursue individual opportunities.

HYBE shares opened at KRW 168,000 on Wednesday after closed at KRW 193,000 on Tuesday. Within the first hour of trading, HYBE fell as far as KRW140,000, knocking off about $1.7 billion of market capitalization, before rebounding to KRW 145,5000. In just one hour, HYBE investors exchanged more than six times the stock’s daily trading average on the Korean Stock Exchange.

Wednesday’s selloff put HYBE’s share price down 59.9% year to date. HYBE wasn’t the only music stock to fall sharply in 2022, however. Record labels and music publishers have not been immune to recent stock market volatility. Through Tuesday, Universal Music Group and Warner Music Group are down 16.7% and 36.5% year to date, respectively. Two smaller music companies, Believe and Reservoir Media, are down 51.5% and 23.9%, respectively, through Tuesday.

Companywide, BTS accounted for 27% of HYBE’s U.S. album sales and streams in 2021, according to the company’s fourth quarter 2021 investor presentation. In Japan — the world’s second-biggest music market — BTS accounted for about half of HYBE’s album sales, according to the company’s 2021 earnings. On top of that, BTS likely accounted for nearly all HYBE’s touring income that amounted to 191.1 billion ($148 million) in 2019 and 45.6 billion KRW ($36 million) 2021.

BTS ranked fourth on Billboard Boxscore’s mid-year 2022 list of top tours after selling 458,000 tickets for 11 concerts. Nearly 200,000 of those tickets came from just four shows at Allegient Stadium in Las Vegas. BTS’s four-night stand at SoFi Stadium in Los Angeles last December sold 200,000 tickets and grossed $33.3 million, according to Billboard Box Score — the sixth-highest grossing engagement in Boxscore history.

HYBE’s 2021 acquisition of Ithaca Holdings from Scooter Braun made the company less reliant on BTS to drive revenue. In terms of U.S. music sales and streams, Ithaca Holdings — which includes label and management clients — made up 45% of HYBE’s U.S. album sales in 2021. Big Machine Label Group, led by Thomas Rhett and Florida Georgia Line, accounted for 4.8 million album-equivalent units. Artists managed by SB Projects accounted for 7.5 million album equivalent units in 2021.

HYBE’s Korean artist roster has also become more diversified in recent years. In 2018, BTS accounted for 100% of the company’s U.S. album sales for its Korean artists. In 2019, 2020 and 2021, BTS’ share declined to 78.5%, 70.3% and 49.0%, respectively, as Seventeen, Tomorrow X Together and Enhyphen gained popularity.

This story will update as Wednesday trading continues. 

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The Joker is back, and this time he’s bringing a friend.

Lady Gaga is in early talks to star opposite Joaquin Phoenix in director Todd Phillips’ sequel to Joker, the 2019 Oscar-winning, $1 billion Warner Bros. hit based on the DC character.

Phillips has been co-writing the script with Joker co-writer Scott Silver for some time and has finally shown it to the studio. Last week, Phillips revealed on social media the title of the new project — Joker: Folie à deux — the title referencing a medical term for an identical or similar mental disorder that affects two or more individuals, usually members of the same family. And while the same social media post showed Phoenix reading the script, the actor’s involvement is not exactly a legal fait accompli just yet — sources tell The Hollywood Reporter that Warners has yet to close a deal with the actor, with the two sides deep into it.

Enter Gaga.

Details on her character are being kept under wraps, but Joker is known for his on-off abusive relationship with Harley Quinn, his psychiatrist at the mental institution known as Arkham Asylum who falls in love with him and becomes his sidekick and partner in crime. It is unclear whether Phillips and company are using other DC characters or striking on their own, as they did in many instances with their first movie.

If a deal is made, Gaga would play Quinn. However, this new Quinn exists in a different DC universe than Margot Robbie’s Harley Quinn, who most recently appeared in 2021’s The Suicide Squad as well as several other films.

But wait, that’s not all: Sources say the sequel is also a musical.

When Warners first made Joker, it was far from a sure thing. A dark and moody character piece, the project was a Taxi Driver-meets-King of Comedy descent into madness set in a late 1970s decaying city. Commercial prospects were deemed nominal, and it was only budgeted at $60 million.

By the time it was released in October 2019, Joker was riding a wave of adulation from the fall film festivals, which helped propel the movie into a record-breaking opening weekend, with box office analysts changing their prediction every day. It ended its theatrical run as the No. 4 highest-grossing R-rated movie of all time. It then earned 11 Oscar nominations, including best picture, and won best actor (for Phoenix) and best score (for Hildur Guonadottir).

Phillips previously produced A Star Is Born, the 2018 remake that starred Joker producer Bradley Cooper and Gaga.

This article was originally published by The Hollywood Reporter.

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Anti Social Producers Club, described as an “underground collective of music producers,” will host its second annual Anti Social Camp in New York City from Monday through Friday (June 13 to 17) in an effort to help rejuvenate the city’s music scene.

“We created Anti Social Producers Club to build community and remind the music industry that there is still a wealth of talent here in New York,” Anti Social Producers Club founder Danny Ross said in a statement. “Anti Social Camp is not only the biggest songwriting camp in recent memory — with 150 signed artists creating 100 songs in 3 days — but it’s a vehicle to reinvigorate the NYC music scene. Thank you to our partners for building this historic event with us. For all those who believe that the music industry has completely shifted to L.A. over the last decade, I have one message — New York is back.”

The camp will see 150 signed artists, producers and writers creating 100 new tracks in three days “with the goal of putting the NYC music scene back on the map,” according to a press release, through sessions taking place both in-person and over Zoom. Notable artists and guests taking part in the camp and its various events include GAYLE, Walk The Moon, Rostam, JP Saxe, Rob Thomas, Linda Perry, NoMBe, Wolftyla, Ant Saunders, Sammy Adams, VÉRITÉ, Tim Atlas, KiNG MALA, Sadie Jean, Madison McFerrin, Annika Wells and Andrea Russett.

Alongside its official distribution partner Amuse, over the course of the week the camp will also host events including a gala at Great Jones Distilling Co. presented by the Recording Academy’s New York Chapter; an industry showcase supported by Spotify Noteable; a “Women Running Music” panel with partners including She Is the Music and Beats by Girlz; an industry day that includes sessions on the Mechanical Licensing Collective (MLC), Chartmetric and Sound Royalties; a Dolby Atmos experiential presentation; and more.

Other companies and organizations partnering for the week-long event include the New York Mayor’s Office of Media and Entertainment (MOME), BMI, Twitch, oeksound, Avid Technologies, Hipgnosis Songs, ABKCO, Spitfire Audio, Milk and Honey, SSL, Music Publishers of Canada, Songtrust, D’Angelico Guitars and Bronx Brewery.

The camp and its events are free for the musicians. You can find the full itinerary here.

A man once briefly married to Britney Spears was charged Monday (June 13) with felony stalking after showing up at the pop star’s wedding to longtime boyfriend Sam Asghari.

Jason Alexander, 40, pleaded not guilty in Ventura County court to the charge, along with misdemeanor counts of trespassing, vandalism and battery.

Alexander remained jailed, and appeared in court via video conference. A judge set his bail at $100,000 and issued a restraining order requiring him to stay at least 100 yards from Spears for three years.

Alexander was Spears’ first husband. The two were married for less than three days in 2004 before an annulment.

Spears, 40, and Asghari, 28, were married Thursday at her home in Thousand Oaks, Calif., in front of several dozen guests including Selena Gomez, Drew Barrymore, Paris Hilton and Madonna.

Alexander, who was a childhood friend of Spears, was streaming live on Instagram when he approached her house. He appeared in a mostly empty but decorated room, telling security Spears had invited him.

Deputies responding to a trespassing call detained him, and he was arrested when they learned he had a warrant for his arrest in another county, the Ventura County Sheriff’s Office said.

Alexander’s bail will be reviewed at a hearing scheduled for Wednesday. An email seeking comment from his public defender Matthew Terry was not immediately returned.

Spears was previously married from 2004 to 2007 to Kevin Federline, with whom she shares two sons, ages 14 and 15.

She met Asghari in 2016 on the set of the video for her song “Slumber Party.”

Their wedding came nine months after Spears and Asghari were engaged, and nearly seven months after Spears won her freedom from a court conservatorship that controlled her life and affairs for more than 12 years.

Spears posted about the nuptials on her Instagram and Twitter accounts the following day.

“Wow !!! Holy holy crap !!! WE DID IT !!! WE GOT MARRIED !!! Gggggeeeeezzzzz !!! It was the most spectacular day !!!” Spears said in the posts along with a picture of her and Asghari from the wedding. “The ceremony was a dream and the party was even better !!!”