SYDNEY, Australia — Fat Papi and prodshushy, the Aotearoa / New Zealand creative team behind the viral hit “Freaked Out,” have signed with Warner Chappell Music for worldwide representation.

The agreements encompass Fat Papi’s and prodshushy’s entire catalogue and future works, including “Freaked Out,” a Billboard Hot 100 and Spotify Global Top 100 hit.

A Kurdish rapper, singer and songwriter raised in NZ, Fat Papi is known for blending melodic hip-hop, synth-driven club production, and infectious hooks. With his collaborator prodshushy, who is making moves in dance-rap and synth-club spaces, the duo have captured more than 100 million streams with “Freaked Out,” while pushing viral trends across socials.

Ignited in part by content themed around summer haircuts, “Freaked Out” gave Fat Papi his first career entry on the Billboard Hot 100 when it debuted at No. 89, lifting to No. 88 on the latest chart.

“I’m excited to join Warner Chappell Music, home to so many legends and icons. I’m also really proud to represent both my Kurdish and New Zealand people with my music on the international stage,” he comments in a statement.

Prodshushy adds: “It’s a privilege and an honor to be represented by Warner Chappell Music for publishing. I’m looking forward to working with the team and building connections with their fantastic roster of writers.”

Cracking the Hot 100 was an “insane” career moment, Fat Papi tells Billboard. “Being from New Zealand and Kurdish, “this doesn’t happen a lot.” There’s new music coming soon, he insists.

On welcoming the artists to Warner Chappell’s global roster of songwriters and producers, says Dan Rosen, president of Warner Chappell Music Australasia, “we look forward to building on this momentum to support their long-term global careers.”

Adds John Halstead, senior A&R manager at Warner Chappell Music Australia: “Fat Papi and prodshushy bring a level of originality that’s impossible to ignore. ‘Freaked Out’ is a huge moment, but it’s their vision for what comes next that really excites me. Proud to welcome them to Warner Chappell and back them for the long haul.”

Fifty, Fiddy. Boo Boo. All these have been, at some point, nicknames for Curtis Jackson.

Fortunately, Boo Boo never quite took off, the hip-hop star told Jimmy Fallon on Tuesday night (Aug. 11) when he stopped by NBC’s The Tonight Show.

Jackson, or Fifty as he’s happy to be called, revealed his unfortunate old nickname while going a few rounds on his new TV series, and philanthropic ventures. The Queens rapper has just returned from the United Kingdom, where Starz‘s new drama Fightland was filmed.

A drama that enters the ring of professional boxing and London’s criminal underbelly, Fightland is Jackson’s first U.K.-based production through G-Unit Film & Television.

“I was able to get some guys to work on it. I was using my juice card, know what I mean, calling up people,” he tells Fallon. The series has been in development since 2022, premiered July 31, and stars Howard Charles as a former heavyweight champion who, after a lengthy stint behind bars, returns to prize fighting with revenge on his mind.

Damione Macedon and Raphael Jackson Jr. (Power, Genius: MLK/X) are showrunners, writers and executive producers, while Daniel Fajemisin-Duncan and Marlon Smith serve as writers and EPs.

Jackson and Starz have a longstanding relationship; he’s an executive producer of the Power franchise, BMF and the unscripted The BMF Documentary: Blowing Money Fast. But there’s one genre he hasn’t cracked. Comedy. “I want to do a scripted comedy show,” he tells Fallon. Naturally, the talkshow host put his hand up.

The New York hip-hop heavyweight, who scored four No. 1s on the Billboard Hot 100 in the 2000s, including a nine-week reign with 2003’s “In Da Club,” is also the proud owner of green thumbs.

Jackson recounted the opening of the Curtis “50 Cent” Jackson Community Garden in the South Jamaica neighborhood of Queens, a green space inspired by Bette Midler’s New York Restoration Project and his G-Unity Foundation. “When I realized what they did,” he said of the project to transform a neglected lot into an outdoor learning space, “I wanted to do that in my neighborhood.”

Watch the interview below.

Blake Bergere would much rather fill hearts and minds with his music than flip burgers. That’s what’s at stake for the singing hopeful, who along with his childhood friend Nick Lorenz is chasing the dream on NBC’s America’s Got Talent.

The musical duo from New Albany, Ohio are competing as Bird & Byron in this 21^st season of AGT. Bergere, a vocalist with soul in his chest, and Lorenz, with his effects-laden guitar work and programmed backing instruments, took the less easy route through the competition by way of the Judges’ Callbacks, a new second-chance round for acts that earned “Yes” votes during regular auditions. 

On Tuesday night’s episode (Aug. 11), and facing elimination, the pair performed an original number, “By My Side.” For Bergere, progress in AGT is nothing short of a dream opportunity. Back home, he works at a burger restaurant. “There’s a lot on the line here,” he remarks in a package.

So, nerves could be forgiven.

“I think you’re great,” judge Howie Mandel enthused after their performance. “And your music and your voice is so distinctive. But, you know, we’re talking about the showmanship.”

For this week two of Judges’ Callbacks, Mandel and Sofía Vergara received support from guest advisors Nikki Glaser, Lele Pons, and Sebastián Yatra.

Glaser chimed in, sharing with Bergere some advice on leading from the front. “I saw you close your eyes,” the comedian explained. “You didn’t open them again. And I was thinking, man, if he opened his eyes, he’d see we’re all just grooving so hard right now. And you’re scared of seeing something that wasn’t even happening.” She insisted, “be the front man.”

Mandel agreed. “You’re closing us off. Share the vibe. And share the vibe with America.”

The childhood friends would be the last act to learn of their future in the contest.

“Your singing is so good. Your playing is so haunting. It’s really original,” Mandel remarked in his sit-down with the lads. “I think that you guys, regardless of what happens here, are already a success. If it was up to me, I would let you go to the live show.”

After a pregnant pause for effect, and a reminder that, yes, Mandel does have that power. And he waved them through. They’re going to the Live shows, along with the likes of Nene Royal, Cris Sosa, Daniel Alvarez, Kameron Marshall, Brook Lynn and Olivia Befus. Those acts eliminated included Naimana and Daniele, Rynia Kando, Vahtang and Darrell Moten.

The Live Quarterfinals begin Tuesday, Aug. 18 on NBC, and stream the following day on Peacock.

Watch the performance and results videos below.

Olivia Rodrigo takes the pain out of the festival experience with Daisy Chain Fields — the inaugural edition has no overlapping sets.

The pop superstar will headline the all-women fest later this month, the schedule for which has been published (check it out below).

Rodrigo and her “special guests” will perform from 8:40pm-10pm on the Dandelion Stage, her start time giving fans a good 10 minutes to complete the walk from Not For Radio’s set at the Marigold Stage (7:50pm-8.30pm).

Performers on the day include Chappell Roan, Garbage, Doechii, The Breeders, Mitski, Bikini Kill, KATSEYE and others. Those “special guests” include Karen O, Sarah McLachlan and Stevie Nicks.

Daisy Chain Fields will be presented Saturday, Aug. 29 at Great Park in Irvine, Calif. Its founder previously confirmed that 100 percent of the net proceeds would go to charities dedicated to advancing and advocating for women and girls.

“The lineup is truly insane and full of my heroes and friends,” Rodrigo said with the festival announcement in June. “I firmly believe that joy, community, and music can be the drivers of meaningful change and I’m hopeful this festival will be just that.”

Beneficiaries include the organizations Baby2Baby, Black Mamas Matter Alliance, Center for Reproductive Rights, FreeFrom, Jhpiego, Johns Hopkins Center for Indigenous Health, National Domestic Workers Alliance, National Institute for Reproductive Health, National Women’s Law Center and Planned Parenthood. 

Four tiers of ticket prices were made available, from $255 (general admission) up to $1,255 (pit viewing). The waitlist is at daisychainfields.com.

The day-long fundraiser is the latest in Rodrigo’s tireless efforts to make the world a better place for women and girls. In 2024, she launched her Fund 4 Good to raise money for reproductive rights, education and actions against domestic violence, later announcing that she had donated more than $2 million to charities through proceeds raised on her Guts World Tour. In 2025, Planned Parenthood presented her with its Catalyst of Change award.

Rodrigo will hunker down for a long stint on the road with her Unraveled Tour, which will visit arenas for multiple night stands in North America, Europe and the United Kingdom this fall and winter beginning with a Sept. 25 show at PeoplesBank Arena in Hartford, Conn, and wrapping up May 10, 2027 at The O2 in London, England.

Those dates come in support of her third studio album, you seem pretty sad for a girl so in love, which opened at No. 1 on the Billboard 200 in June, her third consecutive leader after GUTS (in 2023) and SOUR (2021). With Pretty Sad, Rodrigo enjoyed career-best opening weeks in the Unites States, the United Kingdom (where it debuted at No. 1, completing a perfect three-from-three), and elsewhere.

SYDNEY, Australia — Olly Arkins, chief executive officer of the Australian Festival Association, will depart from the trade body later this month.

AFA chair Adelle Robinson pays tribute to Arkins for leading the AFA through “one of the most consequential periods for the festival industry,” a chapter than included the fallout from the pandemic, the effects of which are still being felt by festival organizers.

Under Arkins’ leadership, the AFA has worked with members, governments and industry partners “to secure greater recognition of festivals as an essential part of Australia’s cultural infrastructure,” Robinson comments in a statement.

Arkins’ last day with the AFA is next Friday, Aug. 21. Speaking with Billboard, Arkins points to the opportunity to rewrite the Music Festivals Act in New South Wales, resulting in significant reforms passed by the state parliament in September 2024, as her “biggest achievement” in five years with the AFA.

Also, Arkins advocated for the federal government to establish and then increase Revive Live funding, including dedicated support for music festivals; helped secure the introduction of drug-checking services at music festivals in both Victoria and New South Wales; renegotiated the OneMusic licence scheme to secure improved terms for music festivals; and more.

“Olly arrived at a time when festivals were still trying to work out whether we had a future. She leaves the AFA with governments listening to our industry and festivals firmly at the table in music industry-wide advocacy,” Robinson remarks.

“She has taken the needs and aspirations of festival promoters directly to decision-makers and turned advocacy into increased funding, legislative reform and stronger working relationships with the agencies that regulate festivals.

“On behalf of the AFA board and our members, I want to thank Olly for her relentless commitment to ensuring Australia has a thriving and sustainable music festival sector.”

The AFA was unveiled in December 2018, representing festival organizers, suppliers and stakeholders across Australia’s music festival sector. Its mission, to advocate the festival industry, promoting best-practice safety and operational standards, providing a unified voice, and facilitate policy reform and investment.

Today, its members include Fuzzy, CMC Rocks, Live Nation, Hardware, Laneway, Groovin’ The Moo, Lost Paradise and many others.

“I am incredibly thankful for the opportunity the AFA board gave me to advocate for our members and this remarkable industry. It has been the experience of a lifetime,” Arkins comments in a statement.

“I will always cherish the support I received from Adelle and the entire team, including the support they gave me as I transitioned during my time at the AFA.

“Together, we all made the case that festivals are major employers and tourism drivers. Importantly for me, they also give Australian artists some of their first opportunities to perform on a major stage and allow more fans to discover them.

“Festivals provide formative cultural experiences and help create lifelong music fans, benefiting the entire industry. I know this because I am one.

“I am incredibly proud of what we have achieved over the past four years. Our association is stronger, the industry has an influential voice with government and in the media, and there is now a much deeper understanding of the cultural and economic value of festivals.”