Marilyn Manson Dropped by Longtime Manager Tony Ciulla: Report

Marilyn Manson has been dropped by longtime manager Tony Ciulla following accusations of sexual and physical abuse against the rock star by his former fiancée, actor Evan Rachel Wood, and several other women, according to a new report in Rolling Stone. Manson has denied the claims.

Manson was previously dropped by his agency, CAA, and record label, Loma Vista Recordings. He is also being edited out of an upcoming episode of the Starz series American Gods, on which he has recurred this season, while AMC’s Shudder service has confirmed it will not be airing a segment of a forthcoming episode of its Creepshow TV series in which Manson appears.

Ciulla has not responded to Billboard’s request for comment.

Ciulla began managing Manson around 1996, the same year he released his breakthrough album, Antichrist Superstar. The two met while Ciulla was working at Trent Reznor’s Nothing Records in the early 1990s, when Manson’s band was signed by the label.

Though Manson and Ciulla’s professional relationship has weathered a number of serious controversies over the past 25 years, the tide appears to have turned following Wood’s accusation that Manson “horrifically abused” her for years after the two met when Wood was 18 and Manson was 36. The pair announced their relationship in Jan. 2007 and were briefly engaged in 2010.

“The name of my abuser is Brian Warner, also known to the world as Marilyn Manson,” Wood wrote on Instagram Monday. “He started grooming me when I was a teenager and horrifically abused me for years. I was brainwashed and manipulated into submission. I am done living in fear of retaliation, slander or blackmail.”

She continued, “I am here to expose this dangerous man and call out the many industries that have enabled him, before he ruins any more lives. I stand with the many victims who will no longer be silent.”

Following Wood’s post on Monday, at least four other women also came forward with various allegations of sexual and physical abuse by Manson.

Though she did not name Manson as her abuser until this week, Wood had previously hinted at the shock rocker’s alleged abuse in both a 2016 interview with Rolling Stone (and a later Twitter post) as well as before a U.S. House Judiciary subcommittee in Feb. 2018 in support of the Sexual Assault Survivors’ Bill of Rights Act. In 2019, Wood again spoke out while testifying before California lawmakers in support of the Phoenix Act, a bill she created to expand the statute of limitations for domestic violence-related crimes from three to five years. That bill was signed into law by California Gov. Gavin Newsom in Oct. 2019 and went into effect in Jan. 2020.

Manson quickly responded to the women’s accusations on Monday with his own Instagram statement, which characterized their claims as “horrible distortions of reality.”

Since then, Manson’s ex-girlfriend Rose McGowan and ex-wife Dita Von Teese have released statements in support of the women, with McGowan specifically calling out the music industry for “protecting predators” in a video posted to Twitter.

Here Are the Lyrics to Ariana Grande’s ’34+35′ Remix, Feat. Doja Cat & Megan Thee Stallion

Ariana Grande added Doja Cat and Megan Thee Stallion to her “34+35″ remix, and her +2 got all three stars to No. 2 on the Billboard Hot 100 (so far).

The remix marked the highest-charting Hot 100 hit by a three or more women soloists in nearly 20 years, since “Lady Marmalade” by Christina Aguilera, Lil’ Kim, Mya and P!nk topped the chart on 2001.

Check out the lyrics below.


You might think I’m crazy
The way I’ve been craving
If I put it quite plainly
Just gimme them babies
So what you doing tonight?
Better say, “Doing you right” (yeah)
Watching movies, but we ain’t seen a thing tonight (yeah)

I don’t wanna keep you up (you up)
But show me, can you keep it up? (It up)
‘Cause then I’ll have to keep you up
Shit, maybe I’ma keep you up, boy
I’ve been drinking coffee (I’ve been drinking coffee, coffee)
And I’ve been eating healthy (I’ve been eating healthy, healthy)
You know I keep it squeaky, yeah (you know I keep it squeaky)
Saving up my energy (yeah, yeah, saving up my energy)

Can you stay up all night?
F— me ’til the daylight
Thirty-four, thirty-five (yeah, yeah, yeah, yeah)
Can you stay up all night? (all night)
F— me ’til the daylight
Thirty-four, thirty-five (Yeah, yeah, yeah, yeah)

Can we stay up all night? F— a jet lag
You bring your fine a– and overnight bag
Add up the numbers or get behind that
Play and rewind that, listen, you’ll find that
I want that six-nine without Tekashi
And I want your body and I make it obvious
Wake up the neighbors, we got an audience
They hear the clapping, but we not applauding ‘em (yeah, yeah)
Six o’clock and I’m crushing
Then it get to seven o’clock now he wants it
When it hit eight o’clock, we said, “F— it”
Forget your girl, pretend that I’m her
Come make the cat purr, come make my back hurt, ayy
Making that squirt and rain and shower and spray
Now that’s perfect, baby, we don’t sleep enough
But I’ma keep you up, if you can keep it up (baby)

Can you stay up all night? (All night)
F— me ’til the daylight (daylight)
Thirty-four, thirty-five (yeah, yeah, yeah, yeah)
Can you stay up all night? (Can you stay?)
F— me ’til the daylight (can you stay?)
Thirty-four, thirty-five (yeah, yeah, yeah, yeah)

Ayy, rock you like a baby, but you know I’m ’bout to keep you up
Welcome to my channel, and today I’m ’bout to teach you somethin’
I can make you pop, legs up like a Cancan
Wake the neighbors up, make it sound like the band playing
Bi—, let me get cute (yeah)
He’s about to come through (he’s about to come through)
I’ve been in the shower for ’bout a whole hour
He finna act a dog in it so he get the bald kitty
Netflix or Hulu? Baby, you choose
I’m up like Starbucks, three pumps, ooh
This p—y good for ya health, call it superfood
When I’m by myself, DIY like it’s YouTube
Bad, bad bi—, all the boys wanna spank me (spank me)
Left him on read, girlfriend need to thank me (thank me)
Make his toes point, ballerina, no tutu
Baby, I’m the best, I don’t know what the rest do (ayy, ayy, ayy, yeah)
Dive in the water like a private island
Thirty-four, thirty-five, we can sixty-nine it
And I been a bad girl but this p—y on the good list (good list)
I hope that you ain’t tired, we ain’t stopping ’til I finish (ayy, ayy, ayy, yeah)

Can you stay up all night?
F— me ’til the daylight (yeah, yeah)
Thirty-four, thirty-five (yeah, yeah, yeah, yeah)
(Thirty-four, thirty-five)
Can you stay up all night? (Do you know what that means?)
F— me ’til the daylight (do you know what that means?)
Thirty-four, thirty-five (yeah, yeah, yeah, yeah)
Yeah, yeah, yeah

Means I wanna “69” with you
No sh–
Math class
Never was good

Lyrics licensed & provided by LyricFind

Lyrics © Universal Music Publishing Group, Sony/ATV Music Publishing LLC, Warner Chappell Music, Inc.

Written by: Ariana Grande, Tayla Parx, Victoria Monet, Albert Stanaj, Courageous Xavier Herrera, Peter Lee Johnson, Scott Nicholson, Steven Franks, Tommy Brown

BMG Announces Restructuring, Ups Thomas Scherer to Repertoire & Marketing President

BMG has announced a “streamlined restructuring” of its U.S. repertoire operation as part of a growth plan “designed to allow the company to accelerate out of the pandemic,” it was revealed Friday (Feb. 5).

As part of the restructure, Thomas Scherer has been promoted to president, repertoire & marketing, Los Angeles and New York, leading the company’s West Coast and East Coast repertoire organizations. Additionally, Jon Loba, who joined BMG in 2017 following its acquisition of country label and publishing house BBR Music Group, has been confirmed as president, recorded music, Nashville. Both will report to BMG CEO Hartwig Masuch.

Scherer, who has been with Bertelsmann for nearly three decades, joined “the new BMG” at its founding in 2008, becoming one of the company’s original employees based out of Berlin. He was most recently executive vp, repertoire & marketing, Los Angeles. Before that, he served as executive vp frontline publishing, where he spearheaded the integration of BMG’s creative teams globally and was key in developing the company’s China operations.

Since Scherer signed on to lead the Los Angeles marketing & repertoire team in 2014, the company has seen success on the recording side with releases from Run the Jewels, Jason Mraz, KSI and Curtis Waters, among others. He also launched a long-term partnership with Dark Horse Records and has led the charge on developing a stable of rock-focused acts in Los Angeles.

A number of other executive promotions were also announced as part of the restructure. Monti Olson and Dan Gill have been promoted to executive vp roles and will be responsible for U.S. publishing and recorded music in Los Angeles, respectively, reporting to Scherer.

In his new role, Olson will lead BMG’s Los Angeles, Nashville and New York creative teams, in addition to creative services for the company’s film and TV publishing clients. He joined BMG in 2018 as co-head of U.S. A&R publishing, overseeing a roster that includes 21 Savage, Juice WRLD, Diane Warren and Del Records. He came to the company from Warner Records and has also served in roles at Global Entertainment and Universal Music Publishing Group.

Gill, meanwhile, will be responsible for BMG’s frontline recordings repertoire and strategy in Los Angeles, including RBC Records (KSI, Chief Keef, Waka Flocka Flame, Big L, Gucci Mane) and metal/hard rock label Rise Records (Dance Gavin Dance, AFI, Pup, Sevendust). He joined the company in 2014 after its acquisition of Vagrant Records, most recently serving as senior vp recorded music.

Jason Hradil has been elevated to executive vp, recorded music, New York, succeeding John Loeffler, who will take on a newly expanded role centered on VIP client relations, U.S.-wide business and strategic partnerships.

Loeffler, a former TV and commercial producer, joined the company in 2009 as a consultant following its acquisition of Cherry Lane Records and has since spearheaded its relationships with artists including Huey Lewis, Roger Waters, Bad Company, John Fogerty and Kenny Loggins. He also managed BMG’s New York-based S-Curve Records and was the architect of the recently launched OM Records, a partnership with French soccer club Olympique de Marseille.

In his new position, Hradil will take on a dual role; in addition to his new executive vp title, he will continue as senior vp, international marketing, a title he has held since 2019. Going forward, he will oversee BMG’s frontline recordings repertoire and marketing on the East Coast, along with the company’s U.S. interests in global recordings. He has been with BMG since 2011, when he joined as its first U.S. recorded music employee, helping develop the company’s entry into the U.S. record business and managing all marketing, sales, promotion and distribution for artist releases in North America. He previously held roles at Columbia/Epic and Sony BMG.

Lastly, Jecoure Lamothe has been upped to senior director, A&R and marketing at BMG’s rap/hip-hop label RBC Records. In his new role, he will manage all day-to-day operations of the label and its artists, reporting to Gill. He joined BMG in 2018 following its acquisition of RBC.

“The US continues to be BMG’s richest repertoire source and largest revenue generator. After a very strong 2020, we are determined to be in a position to accelerate out of this pandemic rather than resting on our laurels,” Masuch said in a statement. “This new streamlined structure will allow us to raise the bar of excellence when it comes to servicing our artists. I would like to thank Thomas, Jon, Monti, Dan, and Jason for all their contributions to the company and wish them continued success in their new roles.”

“BMG US just enjoyed its best year yet so it’s an honor to take on responsibility for our New York operation as well as LA.,” added Scherer. “I look forward to working alongside Jon Loba as we pursue our objective to provide a real partnership for our artists and songwriters: inspire, help them build and own their creative works and offer them new opportunities to express their talents into books, podcasts, films and documentaries, video games and beyond. More than ever, BMG is the most artist-friendly alternative to the traditional music business.”

In its most recent earnings report, BMG posted a 4.8% increase in revenue to €282 million euros ($310.8 million) at the mid-year point ended June 30, 2020, up from €269 million ($303.9 million) in the year-earlier period.

Super Bowl Weekend Concerts Are Scarce But Causing Headaches in Tampa

Crow Bar owner Tom DeGeorge is not in the mood to talk to the people calling about renting his Tampa bar during the Super Bowl.

“I have told every one of them no,” DeGeorge says. “One guy complained that I hadn’t even listened to his offer and my response was ‘I know, and I don’t want to hear it.’”

With local ordinances banning dance floors, reducing capacity by 75% and requiring patrons to wear face masks, DeGeorge says it’s nearly impossible to host a concert in Tampa Bay this year for the Super Bowl. And he’s OK with that.

“It’s not safe to host concerts right now at full capacity and it won’t be until we get through COVID-19,” he tells Billboard.

And yet, about a half-dozen venues in town are moving forward with performances and parties on Super Bowl weekend, including a Catholic Church hosting a tailgating party featuring Flo Rida. Hotel and club WTR Grill + Pool is hosting the biggest events, with a Thursday show by Torey Lanez, Friday show by Steve Aoki and Saturday show with Migos and Diplo playing with 50 Cent, followed by the Qvesoir nightclub in the town’s Ybor City district, which is hosting shows by Kodak Black and Lil Baby, and then the Ritz, which is planning a big Super Bowl bash hosted by Gucci Mane.

The events — which include parties hosted by Rick Ross, Boosie, City Girls and Trick Daddy — fill in a gap left by the absence of OnLocation this year, the NFL’s hospitality and live entertainment partner that was purchased by Endeavor at the beginning of the year. OnLocation decided not to host any VIP events or concerts this year due to COVID-19 and instead focus on ticket sales, which have also been slow.

Tickets are still available for nearly all concerts happening during Super Bowl weekend — as are tickets for the big game, despite a reduced capacity at host Raymond James Stadium to 22,000 (normally 65,000), with 7,500 tickets going to vaccinated health care workers, that was supposed to mean a quiet Super Bowl weekend. DeGeorge said he planned to operate the Crow Bar at 25% capacity and host a few local bands but said he has serious doubts that venues hosting big shows within Tampa’s Ybor City entertainment district will follow the capacity restrictions.

“And that really disturbs the balance of the entire evening and puts the venues that are trying to do the right thing at risk,” DeGeorge says. One problem, he explains, is that the city’s capacity restrictions aren’t being enforced by police and Alcohol and Beverage Control. Since the state’s entertainment restrictions were loosened in October by Florida Govenor Ron DeSantis, images of packed venues and nightclubs have regularly trickled out of Ybor Center — which is home to about 100 clubs, venues, restaurants and retail businesses — and ended up on social media sites and national news broadcasts.

“It can feel like the Twilight Zone here in Florida, where half the people in the state take precautions against the coronavirus and the other half just shrug it off,” DeGeorge said. 

Jesse Lawrence with TicketIQ, which sells and distributes sports tickets, said there would have likely been more concerts and events happening at the Super Bowl this year if the hometown team weren’t playing. The people who buy tickets to concerts — the shows at WTR Grill + Pool start at $250 — are often fans visiting from out of town and not locals.

“And that has a domino effect because the people who are deciding if they want to travel for the game decide not to go because they know they won’t get the full Super Bowl experience,” he said.

DeGeorge hopes locals stay home and don’t show up in search of deals, waiting for the price of some of the big tailgate parties and concerts to drop, creating unsafe conditions for the events operating at a lower capacity. 

“We really don’t know what is gonna happen with some of these concerts or if people do come out, what enforcement of the capacity issues will look like,” he said. “We’re all just nervously awaiting the weekend and will be happy when it’s over.”

This TikTok User Mashed Up ‘WAP’ With ‘Bop to the Top’ From ‘High School Musical’ & It’s Actually Good

Bop bop bop, bop to the top, slip and slide and ride that… “WAP”?

In the most unlikely mashup of all time, TikTok user @kraziibird seamlessly blended Cardi B and Megan Thee Stallion’s raunchy Billboard Hot 100 chart topper with High School Musical’s “Bop to the Top,” performed by Ashley Tisdale and Lucas Grabeel’s characters Sharpay and Ryan.

And while the two songs could not be more different, the resulting remix is actually really, really catchy. Megan’s iconic “gobble me, swallow me” verse flows perfectly over the bouncy “Bop to the Top” beat.

@kraziibird himself was shocked at his creation. “why does it work thoooo,” he captioned his viral TikTok.

Watch it below.

@kraziibird##stitch with @mickeycvd why does it work thoooo ##wap ##highschoolmusical ##remix♬ Bop to the WAP – kraziibird

Looks Like Ariana Grande, Doja Cat & Megan Thee Stallion Have a ’34+35′ Music Video Coming

Ariana GrandeDoja Cat and Megan Thee Stallion have us staying up all night until they release what looks like a music video for their “34+35″ remix.

The three superstars posted identical behind-the-scenes shots of them wearing sexy cream-and-black-colored outfits while watching home movies of themselves on Friday (Feb. 5).

Grande shared the pictures with a white heart emoji on her socials, while Doja used an hourglass emoji and Meg wrote, “Thee cuties.”

Adding the chart-topping “Say So” and “Savage” rappers to her sensual Positions track elevated “34+35″ from No. 11 to No. 2 on the Billboard Hot 100 last month. The remix marked the highest-charting Hot 100 hit by a trio of women soloists in nearly 20 years.

The “34+35″ remix and four more tracks will be added to the deluxe version of her Billboard 200 No. 1 album Positions, which Grande teased on Monday. She posted three images of a TV with the date Jan. 29, 2021, on it, a bathroom mirror with the names “Ari, Doja, Meg” scrawled on it with a heart and the name of the “34+35″ remix they appear on, and a new track list for the singer’s sixth studio album.

See Doja’s teaser pictures here and Ari and Megan’s below.

Wisin & Los Legendarios Say New Joint Album Is ‘Full of Emotions & Great Music’

Despite the challenging and uncertain times, the pandemic has encouraged many artists to bless fans with new music — now more than ever. Wisin and his longtime producers Los Legendarios are the perfect example, dropping their joint album Los Legendarios Vol. 1 on Friday (Feb 5).

Released under La Base Music Group and WK Records, the album also marks the debut studio album of the production duo made up of Marcos Ramírez and Raphael Torres.

“We were able to focus more on our own music during the pandemic,” Torres tells Billboard. “We got in touch with Wisin to prepare the tracks and for us, this is a dream come true.”

Los Legendarios, who have been in the scene since 2008, are behind many reggaeton hits, including “Vacaciones,” “Escapate Conmigo” and “Me Niego.” Their superpowers also come out to play on this album, home to 19 tracks, including La Base’s newest talents: Chris Andrew, Abdiel and Linares.

“It’s always a fun and different experience working with new talents, especially when they are hungry to learn, very talented and humble,” Ramirez says.

But Wisin, Los Legendarios, and the entire squad at La Base were not alone on this journey: Their collaborators included Nicky Jam, Myke Towers, Sech, Reik, Rauw Alejandro and Lunay, to name a new.

“It’s a great blessing,” Wisin says to Billboard. “I think that one of the keys to success in this genre are collaborations. Receiving an honest ‘yes’ from my colleagues was very important for me. Everyone put their part so that this album can be legendary. It’s an album that’s full of emotions and lots of great music.”

“Fiel,” in collaboration with Jhay Cortez, is the focus track.

“It’s refreshing and one of my favorite songs on the album because it captivates your ear,” Wisin notes. “The way Jhay interpreted the song also called my attention because it shows me that he’s a versatile artist who can enter different worlds.”

Other recommended songs by Wisin and Los Legendarios include: “Mami,” “Mari Mari,” “Fiel,” “Baila “Conmigo,” “’Mi Niña” and “Vamo’ Alla.”

Stream and listen to Los Legendarios Vol. 1 below: