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Hopeless Records’ Louis Posen to Be Honored at 2024 A2IM Libera Awards

Louis Posen, founder of California-based label Hopeless Records, is set to receive the Lifetime Achievement Award at the 2024 A2IM Libera Awards. The awards, the world’s largest celebration of independent music, is set to take place on Monday, June 10 at Gotham Hall in New York. The gala dinner and concert event, featuring performances from a diverse range of artists, is open to the public.

As a board member for the Worldwide Independent Network (WIN) and Merlin and a two-time board member for A2IM, Posen has stood at the forefront of advocacy efforts within the United States and internationally.

“Louis’s dedication to nurturing artists and leveraging music for social change underscores his commitment to our industry and epitomizes the power of combining passion with purpose,” Dr. Richard James Burgess, MBE, president/CEO of A2IM, said in a statement. “Louis is a vital advocate for independent music, vigorously championing the causes he believes in. We salute Louis for his continued commitment to the independent sector and to community empowerment.”

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“What an unbelievable honor to be in the same company as some of my mentors and favorite labels,” Posen said in a statement. “… Thank you to the entire independent music community. Especially A2IM, whose amazing work promoting and protecting the value of independent music has created an industry environment where independent artists and companies like Hopeless can thrive.”

Previous A2IM Lifetime Achievement winners include Martin Mills (Beggars Group), Tom Silverman (Tommy Boy Records), Bruce Iglauer (Alligator Records), Patricia Chin (VP Records), Mike Curb (Curb Records), Ani DiFranco (Righteous Babe Records), Brett Gurewitz (Epitaph/ANTI-), Jonathan Poneman (Sub Pop), Seymour Stein (Sire Records) and Al Bell, Estelle Axton, Jim Stewart, and Deanie Parker (Stax Records).

This year, Hopeless Records celebrates its 30 year anniversary. Over the last three decades, it has grown from a bedroom label into one of the most successful companies in independent music, with more than 400 releases and millions of records sold.

Founded by Posen as an excuse to release a seven-inch by the band Guttermouth, the label spent much of the ’90s catering to pop-punk and ska fans with a short roster that included 88 Fingers Louie, Dillinger Four and Mustard Plug. As mainstream tastes shifted, so did the label, signing such acts as Avenged Sevenfold, All Time Low, Taking Back Sunday, Yellowcard, New Found Glory, Neck Deep, The Wonder Years and illuminati hotties.

This year’s Libera Awards will recognize achievements across 38 categories, including three new ones: publisher of the year, distributor of the year and best record from games and interactive media.

Tickets start at $299 for a single balcony ticket. They can be purchased here.

Benson Boone on the Relationship That ‘Terrified’ Him Into Writing Smash Hit ‘Beautiful Things’

It’s a good time to be Benson Boone.

The 21-year-old Washington-born singer-songwriter, who got some early exposure on American Idol and has since gained a following of nearly five million on TikTok, had scored a pair of Billboard Hot 100 hits early in the 2020s with the piano-led ballads “In the Stars” and “Ghost Town.” But for his latest single, the love song “Beautiful Things,” he added some power to his balladry, going electric with a mid-song guitar kick-in reminiscent of Billie Eilish’s “Happier Than Ever.” The single immediately arrived not only as his own biggest hit, but one of the breakout songs of early 2024, debuting at No. 15 on the Billboard Hot 100 and jumping to No. 3 just two weeks later.

Now, Boone, who records for Night Street/Warner Records (signed by executive vp of A&R Jeff Sosnow to the latter label), is preparing to head out on his first U.S. headlining tour as his smash single continues to climb the charts, even topping the Billboard Global 200 this week. And while his first two minor hits gave him a little taste of stardom — momentum which faded about as quickly as it appeared — this time, he says he’s not going to let this opening close again.

“I’m very prepared for this moment — and I haven’t been in the past,” Boone explains. “My two other songs that have done well — I wasn’t prepared for them. I teased them without even having the song fully ready. So much happened so fast, and looking back, I could’ve done a lot better at keeping that moment [going]. But this one, I’m ready. I’ve been ready for this one.” 

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Below, Boone talks about the inspiration for his new signature hit, why he thinks the song has already taken him to a new level, and if those inevitable Eilish comparisons were something he had in mind while writing it.

You’ve had this song in the can for a little while now. Do you remember about when you first recorded it, first came up with the idea for it or anything like that?

I wrote it on my piano September 29th. I’d just moved to L.A., and I’d moved my grandma’s old piano up to my living room. I couldn’t sleep one night, and I didn’t know what to do, so I came downstairs and started playing the piano. That’s when I wrote the melodies for “Beautiful Things.” The next day I had a session, and I took it into the studio. 

Were the lyrics inspired by any specific relationships in your life?

Yeah, it was inspired by a relationship that I had just gotten into — for the first time in my life, I felt like I was extremely out of control of the way this relationship would turn out. Meaning like, in the past, I feel like I’ve always known that I could be the one to end a relationship. This one felt very different. It was the first time that I’d really been actually, genuinely terrified to lose something. 



The song pivots sonically in the middle. Did you always conceive the two parts as one song, or did you figure out a way to bridge them together?

That night that I wrote it, I couldn’t figure out a chorus for the verse melody, so I moved on to a different idea. I actually wrote both of those ideas as separate songs. When I was in the studio, Jack [LaFrantz] — the guy I wrote it with — was the one who suggested [bridging them], because I showed him both of the ideas. He’s the one that suggested that we make it one [combined song].

The structure of the song did take a long time to figure out because we didn’t know if we should do it all slow, and then do one chorus at the end, or if we should do three choruses. It took us two weeks — after we had already built out production — to redo everything, and that’s where we finally cracked the code. I’m very happy with the way it turned out. 

What gave you the confidence that the song could work in this format? Was it the sort of thing where you just heard it once and were like, “OK, this is gonna work”? Could you already start seeing in your head that that moment would sorta play on social media?

I think I knew after I heard the chorus with production that this could be a really big song. With teasing on social media, and with promoting your music, you never really know what’s gonna go. All I can do is try my best to push it. But I was really hoping this one would go, because I do love this song.

And outside of any TikTok video, it just feels like a big change for me — a change in the right direction, that’s more like my other music that will be coming out.

When I’ve been talking about the song with co-workers and friends, a lot of times the song that keeps coming up as a reference point for it is “Happier Than Ever” by Billie Eilish — another song that starts slow, has that big kick-in moment, and then ends on 10. Was that song something that you thought about at all? 

I wasn’t really thinking about a particular song when I wrote this song. But that’s an incredible song, and I guess in ways, yeah, “Beautiful Things” has a structure sort of like that. It’s incredible to have songs that change very drastically from beginning to end. A lot of the songs that I’ve written in the past couple months have that — tempo changes and production changes, and everything picks up a little bit, or slows down a little bit. But yeah, I mean — Billie Eilish. That song’s incredible. So good. 



You said that this song is maybe a little more in line with music you have that’s coming out. Is that sort of a specifically guitar-oriented thing? Not many of your songs before this had such a prominent guitar sound to it, but this one is pretty rocking. How does that fit in with the rest of the stuff you have coming up?

A lot of my stuff in the past has been very piano-based. Obviously, I still have a lot of piano in my songs, but there definitely have been more heavier guitar songs, which I’m very happy about.

I love the guitar. But overall, since the last time I released music, my voice has been maturing a lot. My style has been changing just slightly. And I think the songs that I will be releasing in the next couple months are closer to what my future looks like for releasing music. I’m very excited. 

Are you already envisioning what kind of a big moment “Beautiful Things” is going to be when you go out and play it on tour? 

Yeah, I’ve thought a lot about that, like how cool it’ll be to sing that chorus with everyone. The night of the release I did a pop-up show in Utah — I announced it like an hour before, and a couple thousand people came. It was really awesome: I sung the song for them, and it was so incredible. To hear so many people that screamed that song with me, it’s pretty crazy. 

Beyond the tour, is there anything you’re particularly looking forward to this year?

Man, all I’ve been thinking about is the tour, and I’ll be going some places that I’ve never been before. But after the tour, and after all the shows, I’m really looking forward to just being with my friends. I think we’re gonna go on a trip to Greece and have two weeks and just live my life.

A version of this story originally appeared in the Feb. 10, 2024, issue of Billboard.

How Garrett Stubbs Became The Phillies’ Clubhouse DJ

In his two seasons with the Philadelphia Phillies, catcher Garrett Stubbs has played in just 87 of a possible 324 games — par for the course when you’re backing up J.T. Realmuto, commonly referred to by Phillies fans as the “BCIB” (Best Catcher in Baseball). But despite his limited time on the field, Stubbs has become one of the most beloved and recognizable Phils for his role as the team’s preeminent Clubhouse Guy — as well as their anointed post-game DJ.  

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With the Phils’ locker room turning into Philadelphia’s hottest club over their five playoff series victories across 2022-23, Stubbs has also become one of the city’s most influential aux-cord wielders with his celebratory selections, collected in his publicly available “Phils Win” Spotify playlist (nearly 30,000 likes). The most famous of the bunch, Tiësto’s remix of Calum Scott’s cover of Robyn’s “Dancing on My Own,” caught so much local heat after it became the Phils’ unlikely postseason anthem in 2022, which propelled the song back onto the Billboard charts, making the Digital Song Sales top 10 last October.  

Below, Stubbs talks with Billboard about how he became The Guy for soundtracking the team’s champagne-soaked celebrations, as well as why his club loves a good dance remix, and whether they’ll ever be able to get away from “Dancing on My Own.”  

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How did you become the sort of official team DJ/Spotify playlist curator here?  

Somebody’s gotta do it, and I’d say because my role on the team as far as playing time goes is limited, I just became the guy who came into the locker room after the games to turn on the music. As guys started to like certain songs, I just started to accumulate the ones that everyone liked and put them into a playlist. And then slowly but surely, there ended up being 1, 2, 20, 50, 100 songs on the playlist.  

Over the past couple years, who else on the team have been your supporting curators? 

Schwarbs [Kyle Schwarber] is a big one. He’s certainly a guy that brings good vibes to the locker room. [Nick] Castellanos is another one. He’s got very eclectic taste in music — he’s a huge J. Cole fan and likes to play anything from rap all the way to ODESZA. And he is a big fan of those two — if you walk into the locker room and either one of those two is playing, he definitely got ahold of the sticks.  

Do you need a sort of quorum of team approval to put a song on the playlist? Are there any times that you try to sneak one on that you like — or do you need to have, like, a couple co-signs before you put one on the official team playlist?  

No, I put random songs on there all the time. [Laughs.] So I generally will just like a song and put it on there, and then it’ll play in the locker room at certain times of the day, or after the game, and when the song comes on, I’ll just around the locker room and see what vibe I’m getting from everybody. And if it’s good, it stays, and if it’s not good, it gets taken off quickly.

Do you remember any times you got a particularly bad response to a song you were excited about? 

Not so much a bad response — I mean, sometimes guys get over songs. Like we have Waka Flocka [Flame] on there — Schwarbs is a big Waka Flocka fan, so he will put Waka Flocka on there. And at times, if we get too much Waka, it gets worn out quickly. But there are other songs on there that come and go as post-game music. But the top four songs are always [Shouse’s] “Love Tonight,” [Calum Scott’s cover of] “Dancing on My Own,” [Trey Lewis’] “D–ked Down in Dallas” and then [Alabama’s] “Dixieland Delight.”  

But we make trades during the year, right? And we try to make guys feel comfortable as soon as they get over. And that’s how “Dixieland Delight” got on there. We got D-Rob [David Robertson] traded over from the Cubs, and he was an Alabama guy, so we quickly put on “Dixieland Delight.” And it ended up sticking in 2023! But it’s just a good way of getting guys connected — especially, like, Latin players who there’s a language barrier with. So we have Latin songs on there as well, for people to enjoy.  

Brandon Marsh #16 and Bryson Stott #5 place a cup on the head of Garrett Stubbs #21 of the Philadelphia Phillies as Stubs gives a post game interview after a win in a game against the Colorado Rockies at Coors Field on May 13, 2023 in Denver, Colorado.

Brandon Marsh #16 and Bryson Stott #5 place a cup on the head of Garrett Stubbs #21 of the Philadelphia Phillies as Stubs gives a post game interview after a win in a game against the Colorado Rockies at Coors Field on May 13, 2023 in Denver, Colorado.

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Do you add to it in the offseason?

No, I’ll listen to new music all the time. Unfortunately I feel like there hasn’t been a ton of great music coming out. I don’t know how you feel about that, but… 

Well, you’re working for a very specific purpose — maybe people like the new Lana Del Rey album, but I’m sure that’s not gonna make it onto the post-game playlist.  

No doubt. Yeah. I’ve been listening to — there’s a lot of good country music that comes out, but like you said, it’s not necessarily the vibe after a win to listen to friggin’ Chris Stapleton or like, a slow Morgan Wallen song or something. But we had big Dua Lipa love in 2022, starting with Kyle Gibson. And so the “Cold Heart” song got put on there. And that’s kind of the vibe we like to go with.  

Do songs ever get nixed for being bad luck? Like if you hear a song before a big loss, or it’s the first song that gets played after a big loss, are you ever like, “All right, that song’s no longer part of the vibe, we gotta get it out of here?” 

Well, so last year, we tried to get rid of “Dancing on My Own.” Which didn’t go very well at the beginning of the season. And so we ended up putting that back on. But we went through a number of different songs. I know that Juicy J was at one point getting played. I put on “Erryday” by Juicy J after wins. That quickly got axed. There was another J. Cole song that got played after wins — that was just a little too slow. And like, you’re looking around the league, there’s probably songs that get played that are in multiple locker rooms. So we try to keep it independent to ours. I’m sure at one point “All I Do Is Win” was just like the song that everyone played.  

We try to stay away from the superstition part. Like, playing “Dancing on My Own” after wins isn’t a superstition for us — it’s just a good vibe. Everyone seems to be having a smile on their face. But also the connection that we got to have with the fans during that was pretty cool.  

So I’m sure you’ve talked about it a million times by now, but when did you know that “Dancing on My Own” was connecting in that way?  

Well, the funny thing is that all the music that got played in the locker room, not that it wasn’t supposed to get out of the locker room, but that was certainly not the intent at first. We basically were just playing certain songs, I started curating a playlist honestly just to make it easy to play the songs after the game — we could just click play on the playlist and then it would run through all the songs. At no point did I think the entire city was going to find my Spotify! And then realize that there was a “Phils Win” playlist. And then next thing I know, there was 1,000 people liking it, 5,000, 10,000, I think it’s up to like 20 or 25,000 now… 

You’re almost up to 30 now.   

OK, yeah. So that wasn’t the intent out the gate. But I think it’s a cool way for fans to kinda get a taste of what goes on in the locker room. I think fans enjoy seeing that side of our team. I think they also see that outside of the music, just how we interact with each other on the field. And we have a very unique, fun way of connecting with the people of Philly.  



That song specifically, though — when did you know that that was going to be the song that people most associated with you guys? 

I don’t think we ever thought that people were going to associate themselves with it outside the locker room. I think we just kinda felt like it was a good vibe when we were listening to it inside the locker room. And then, very quickly, people found out that that was our song inside the locker room, and then they started connecting with it. That kind of just happened organically, which — I think that’s how the best things in life happen, right? You don’t really intend for them to be a certain way, but just over time, people just get drawn to a certain thing.  

In general, just the vibe, the feeling that you get when you hear the song, is upbeat — Tiësto did a great job remixing it because obviously the original is a little slower. So I think the remix gives a good vibe, and all of a sudden you kinda get your head bobbin’, and it gives you good feelings inside, with the association of the winning part of it, along with just the sound that you get from listening to the song, is always positive.  

I did notice, skimming the top of the playlist — and I’ve heard it in the locker room too — there’s a lot of dance remixes of non-dance songs. That seems to kind of be a sweet spot for you guys.   

Yeah, I personally love bringing a little bit of house vibe to an old song. Seeing some of these new artists grabbing really great classics, and then remixing them with a little more modern house sounds that you weren’t necessarily able to make when they were making those songs, I really enjoy it.  

So with 30,000 people following this playlist, do you ever hear it outside the locker room?   

Well, after we would win we would go over to Xfinity Live, and immediately the DJ would start playing every single song from the playlist. We would celebrate in the locker room, and then afterwards we would go to Xfinity and celebrate again, and they would bring out those same songs. It was always fun watching the reaction of the fans to certain songs. My favorite song on the playlist [laughs] to have fun with is “D–ked Down in Dallas.”  

I mean “Dancing on My Own” is obviously an incredible song, and associated with the whole city. But “D–ked Down in Dallas” is just such a fun song for all of us to have fun to, and whenever we’d go to Xfinity and watch everyone else sing along with it, it was hilarious to us.  

Have you thought about what the next in line song would be if “Dancing on My Own” wasn’t working anymore? 

I mean, we’ve thought about it plenty, right? We tried to get rid of it this last year. And I don’t even wanna use the words “get rid of,” but we tried to move on from it and find something new and fresh. And we ended up reverting back to it. I think the fans have certain feelings about bringing it back in 2024, which I totally understand — when you don’t win the World Series, a lot of fans feel like it’s not a success. And us players feel the same way, too. But there has been a lot of success — not just with the song, but with the team for the past few years — so we do have a lot of really good memories, and I hope that eventually we just do find a new song that gives us a good vibe and a new good energy that people can connect with.

Is Kanye West & Ty Dolla $ign’s ‘Vultures’ Circling No. 1 on the Billboard 200, Or Will It Be a ‘Coming Home’ Homecoming for Usher? 

The Contenders is a midweek column that looks at artists aiming for the top of the Billboard charts, and the strategies behind their efforts. This week (for the upcoming Billboard 200 albums chart dated Feb. 24), two of the year’s most-anticipated new releases vie for No. 1, while a third-party candidate originally from 2022 also gets into the mix. 

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Kanye West & Ty Dolla $ign, Vultures 1 (YZY): Kanye’s and Ty Dolla’s long-awaited and much-delayed – can just assume both of those descriptors with any Ye-related release at this point – collaborative new LP Vultures 1 is the former’s  first wide release on his new independent label YZY. The 16-track effort features appearances from big-name collaborators like Travis Scott, Playboi Carti and Chris Brown – though none are actually credited on the feature-less tracklist – as well as a guest vocal from Ye’s 10-year-old daughter North on “Talking.” (It also features an interpolation of Donna Summer’s disco classic “I Feel Love” on “Good (Don’t Die),” which the Summer estate has decried as unauthorized.)  

The album was originally supposed to debut on Friday, after a Chicago listening event, but ultimately trickled out (with a false start or two) on streaming services over Saturday. The incomplete first tracking week for the set – with only five full days of consumption – will likely dampen its opening numbers a little, as will its lack of physical availability, as the album is not yet available for purchase on CD or vinyl. (The set also has received muted support on many top Spotify playlists for an album of its buzz, likely due to past and ongoing Ye-related controversies.) 

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However, with high anticipation for the set (as Ye always seems to garner, regardless of his real-life backlash), it should still do fairly sizeable streaming numbers. As of Wednesday, it still claimed four songs in the top 10 on Spotify’s US Daily Top 200 and five in Apple Music’s real-time top 10, with its “Carnival” leading both listings. Given Kanye’s history on the Billboard 200 – which boasts 10 No. 1 albums, including controversy-embroiled more recent releases like 2019’s JESUS IS KING and 2021’s Donda – it would be foolish to bet against him finding similar success with Vultures.  

Usher, Coming Home (Mega/Gamma): Coming Home represents a number of firsts for Usher: His first album of the 2020s, his first through independent record label Mega (in partnership with the Larry Jackson-founded alternative distributor Gamma) and his first since being minted as a Super Bowl headliner. Technically, the set debuted two days before the Big Game, but the album will undoubtedly be boosted by the added exposure of the most-watched halftime performance in SB history – even though the pop&B superstar didn’t actually perform any songs from the new album, opting to stick to a set of more-established classics.  

Nonetheless, Coming Home does arrive with some built-in success: “Good Good,” the album’s lead single alongside next-gen ATLiens Summer Walker and 21 Savage, has previously reached No. 25 on the Billboard Hot 100, already his biggest hit on the chart in a decade. The set features additional collabs with hitmakers Latto, Burna Boy, H.E.R. and Jung Kook (on a previously released remix of the latter’s top 5 Hot 100 hit “Standing Next to You”). All of these should help streams of the set — and sales are also expected to be robust, with Coming Home available on CD, in five different vinyl variants, and through both CD and vinyl box sets that include branded merch. (Digital editions of the album have also been heavily discounted.)  

While Usher’s new album will likely be his best-performing LP this week, he should also see some major movement with his back catalog – most notably with his Billboard 200-topping 2004 juggernaut Confessions. The classic album, which celebrates its 20th anniversary this year, had a whopping seven tracks make its way to Usher’s halftime setlist, including the set-capping Lil Jon and Ludacris collab “Yeah!” and the much-buzzed-about Alicia Keys duet performance “My Boo.” It re-enters the top half of the 200 this week, jumping 140-92, and should make an even bigger leap next week.  

Noah Kahan, Stick Season (Mercury/Republic): The weather may be warming outside – slowly – but on the Billboard 200, Stick Season may simply never end. Alt-folk singer-songwriter Noah Kahan’s breakout album, which has only grown in popularity and impact in the 16 months since its October 2022 release, has spent the entirety of post-holidays 2024 in the Billboard 200’s top 10, climbing back as high as No. 4, after having peaked at No. 3 last June following the set’s We’ll All Be Here Forever deluxe re-release.  

Stick Season slips to No. 7 this week, but it may very well return to the top three once more next week, following another, even deluxer reissue of the set. This one is titled Stick Season (Forever), and features a whopping 30 tracks, including previously released Hot 100-charting collaborative remixes of Stick originals with Post Malone (“Dial Drunk”), Kacey Musgraves (“She Calls Me Back”) and Hozier (“Northern Attitude”). In addition to all of those, the set also boasts two (well, one and a half) totally unreleased cuts: the solo ballad “Forever” and the Brandi Carlile-guesting redo of We’ll All Be Here Forever fan favorite “You’re Gonna Go Far.” (All versions of the album, new and old, are combined together for tracking and charting purposes, under its original title: Stick Season.)

The new edition of the now-blockbuster set has no physical release available, but has already spurred plenty of extra streaming activity for both the original album and its previously released “new” tracks – as well as for the brand-new “Forever,” which is still in the top 50 on both Spotify and Apple Music’s daily charts.  

Jennifer Lopez Sets the Record Straight About When She & Ben Affleck Actually Broke Up in 2004

Jennifer Lopez is setting the record straight. During her Wednesday (Feb. 14) interview with Zane Lowe for the debut of her This Is Me … Now Radio on Apple Music, the 54-year-old superstar clarified when she and her now-husband Ben Affleck actually called it quits back in 2004 — and no, it wasn’t when they called off their wedding.

“We didn’t break up right at that moment,” Lopez recalled of ending her engagement with the Gone Girl actor about 20 years ago. “It happened over the series of the next few months.”

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“I knew in my heart that I wanted to be with him for the rest of my life — I knew that,” she continued. “But it didn’t feel like we were going to make it. And so, it scared me. It was very hard, it was a very sad moment of letting go of somebody that you truly love because you just can’t figure it out. You just don’t have the capacity and the ability at that moment, emotionally, to figure it out. We just weren’t mature enough in that way.”

The Marry Me star first met Affleck in 2001 on the set of their movie Gigli. They revealed their engagement in 2002 before delaying their wedding in 2003, after which they called off their nuptials altogether in early 2004.

Lopez went on to marry Marc Antony later that year, and they welcomed two kids before separating in 2011. Affleck wed Jennifer Garner in 2005, and the pair had three kids before splitting in 2015.

“We went, and we both tried and found other people, and had beautiful children, and had other families, and then even had other relationships after that,” Lopez reflected to Lowe. “I was like, ‘You know what? I’m totally good on my own. I’m chill, I love my life, I have this amazing career that I’ve built for myself, I have these amazing children.’ That’s when he showed back up.”

“And funnily enough, he said he had had the same type of experience,” added the “I’m Real” singer. “And that’s kind of how it went down.”

Lopez’s highly anticipated album This Is Me … Now will arrive Friday (Feb. 16). A musical film in support of the new album, This Is Me … Now: A Love Story, will also drop on the 16th via Amazon’s Prime Video, followed by a documentary about the making of the record Feb. 27.

Watch her interview above.

Choreographer Ends Copyright Case Against ‘Fortnite’ Maker Epic Games Over Dance Moves

Fortnite owner Epic Games has reached an agreement with a celebrity choreographer to resolve his lawsuit claiming the company stole copyrighted dance moves, three months after a federal appeals court issued a first-of-its-kind ruling that allowed the case to move forward.

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In court filings on Monday, Epic and choreographer Kyle Hanagami asked a Los Angeles federal judge to dismiss his lawsuit, which had been schedule to go to trial in May. The terms of any kind of agreement were not made public, and neither side immediately returned requests for comment.

The lawsuit from Hanagami, who has worked with BTS, Jennifer Lopez, Justin Bieber and Britney Spears, claimed that Epic had turned his novel dance moves into lucrative “emotes” that Fortnite players could buy in the game – one of a spate of such cases over the use of viral dance moves in video games.

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In his complaint, he claimed that Epic had copied a routine he created to a Charlie Puth song and used it without permission as the basis for a Fortnite “emote” — a pre-programmed dance move that players can purchase from Epic and employ using their digital avatars. He called it “intentional misappropriation” of his “fame and hard work.”

Dancers and choreographers have fought for years to protect pop music routines — like JaQuel Knight, who has created dances for Beyoncé and Megan Thee Stallion. But federal courts and the U.S. Copyright Office for years largely rejected those efforts, often ruling that copyright law only covers more extensive choreography, like ballets.

In August 2022, Hanagami’s case faced that same fate. A federal judge tossed the case by ruling that Epic had copied only several unprotected “poses” from Hanagami’s routine in Fortnite, and that even when combined together, they were just a “short” routine that couldn’t be covered by copyright law.

But in November, the U.S. Court of Appeals for the Ninth Circuit overturned that ruling, reviving Hanagami’s case and allowing it to move forward toward a jury trial. Calling its decision a “novel” ruling on “one of the oldest forms of human expression,” the appeals court said that dance copyrights should be analyzed more holistically — more similarly to how courts dissect copyrighted music.

“We see no reason to treat choreography differently,” the appeals court wrote. “Reducing choreography to ‘poses’ would be akin to reducing music to just ‘notes.’ Choreography is, by definition, a related series of dance movements and patterns organized into a coherent whole. The relationship between those movements and patterns, and the choreographer’s creative approach of composing and arranging them together, is what defines the work. The element of ‘poses,’ on its own, is simply not dynamic enough to capture the full range of creative expression of a choreographic work.”

That ruling sent the case back to the lower court for more proceedings, and a trial had been tentatively scheduled to begin in May.

Russell Simmons Sued Over Alleged Sexual Assault Of Music Exec

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2023 MusiCares Persons Of The Year Honoring Berry Gordy And Smokey Robinson - Arrivals

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A former producer and executive who worked with Russell Simmons has sued the mogul, alleging that he sexually assaulted her in the 1990s.

According to reports, Hip-Hop pioneer and Def Jam Recordings founder Russell Simmons was hit with a lawsuit Tuesday (Feb. 13) in Manhattan, New York. The lawsuit, filed by a woman referred to as “Jane Doe,” claims that Simmons raped her in the late 1990s in his apartment. The woman describes herself as a former senior music executive and music video producer who worked for Def Jam during that time.

In the filing, Ms. Doe claimed that Simmons had invited her to his place to view a rough cut of a music video. Soon after she arrived, his demeanor went from business to being sexual, which she brushed off as a joke. He then pulled a “wrestling move” and pinned her down before allegedly raping her. She detailed how she tried to fight him off, but was unable to. She would further detail how Simmons sexually harassed her afterward at the office, invading her personal space. The lawsuit says she resigned from Def Jam in 1997.

Her lawyers, Kenya Davis and Sigrid McCawley, stated that their client was moving up in her career before the sexual assault. “She was proud of her contributions to the burgeoning musical genre of hip hop, but her hard work and her career in music was disrupted and derailed by Mr. Simmons, a rich and powerful celebrity whose wealth and influence allowed his abusive behavior to go unchallenged for decades,” they said in a statement. “Now a successful writer and producer in the entertainment industry, Jane Doe’s traumatic experiences with Simmons echo those of so many other women who he has preyed upon for decades.”

The lawsuit was filed under the New York’s Adult Survivors Act and the New York City Gender Motivated Violence Act. Both laws contain “lookback windows,” which allow for the filing of lawsuits that wouldn’t occur due to being outside of the statute of limitations. Russell Simmons faced other lawsuits accusing him of sexual assault in 2018 and was the subject of the On The Record documentary in 2020 where other accusers detailed their allegations against him. Simmons has stated in the past that he had been in “compromising situations,” but claimed in an interview that he took and passed nine lie detector tests concerning those allegations. 

‘Deadpool & Wolverine’ Trailer Breaks Record As Most Viewed Trailer Of All-Time

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Deadpool & Wolverine

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On Sunday (Feb. 11), comic book fans were elated when Marvel Studios finally dropped the first trailer for the highly-anticipated Deadpool & Wolverine. And judging from the amount of views the trailer got online, it might very well do Avengers: Endgame numbers at the box office.

Deadpool & Wolverine

Source: Marvel Studios / Marvel Studios

Deadline is reporting that in just 24 hours after it was released online, the trailer for Deadpool & Wolverine was viewed a whopping 365 million times! The amount of views sets the new record as it beat out Spider-Man: No Way Home‘s original record of 355 million views. Deadpool & Wolverine actually broke that record in a single day. Amazing.

In Deadpool & Wolverine, Ryan Reynolds resumes his roles as the Merc With A Mouth while Hugh Jackman reprises his place in the MCU as Wolverine aka Logan. Although we didn’t get to see Jackman in all his Wolverine glory, we did get to see his shadow at the end of the trailer. Couple that with scenes that include the heroes from the main Marvel Cinematic Universe, our first look at the main villain, Cassandra Nova, and fans swearing that Doctor Doom made a quick appearance, the trailer is loaded with reasons to keep re-watching to catch whatever Easter eggs they could find. So yeah, we’re not surprised it got viewed that many times in a short amount of time.

That being said, tickets for the film should be hard to come by whenever pre-sales go live. With the film slated to release July 26, expect them to go on sale in May or June. Be ready, y’all. Hype for this film still hasn’t even hit fever pitch. Once it does, it might be over.

Are you hype for Deadpool & Wolverine? Let us know in the comments section below.



Ariana Grande Freaking Out About ‘Queen of My Heart’ Mariah Carey Joining Her on ‘Yes, And?’ Remix

Even Ariana Grande can’t believe it. The singer revealed on Wednesday (Feb. 14) that she will be teaming up with the “queen of my heart” Mariah Carey on a remix of her “Yes, And?” single. In an Instagram post featuring a photo of the two women leaning in and touching foreheads, Grande said, “I cannot believe the words i am typing,” while announcing the remix due out on Friday (Feb. 16), calling MC her “lifelong inspiration.”

“There truly are no words that suffice. thank you from the bottom of my heart for this dream come true and for sprinkling your brilliance and magic on my little song @mariahcarey,” Grande added. “It means more to me than i could ever possibly articulate and i cannot wait for everyone to hear this ! i love you eternally !!!!!!!” Carey re-posted the same image and message on her Insta.

It will mark the second time the two vocal powerhouses have teamed up, following on the heels of Grande appearing on a 2020 remix of Mariah’s Christmas song “Oh Santa!” alongside Jennifer Hudson as well as Grande’s December cameo at one of Carey’s Christmas shows in New York.

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Grande appeared in the first trailer for the live action adaptation of Wicked during Sunday’s Super Bowl LVIII, in which her Glinda the Good Witch stars opposite Cynthia Erivo’s Elphaba. While the film isn’t due out until the fall, Grande’s upcoming album, Eternal Sunshine, will drop on March 8. The singer recently revealed that she will not release another single until after the album’s release.

Check out Grande’s post below.

Lil Yachty & James Blake Announce ‘Bad Cameo’ Joint Album

Lil Yachty shocked the world with his Let’s Start Here psychedelic rock album, and now he’s gearing up to make another creative pivot with his next body of work. Lil Boat revealed on Tuesday (Feb. 13) that he’s readying a genre-blending joint project with James Blake titled Bad Cameo.

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“I think James has worked with a quite substantial amount of hip-hop artists,” Yachty said in a clip posted to Instagram. “But this project is so left for both of us. Then, aside from the one picture that James posted, which he doesn’t have many followers actually, I don’t think people know that we know each other exist.”

While they are yet to release anything together in an official capacity, Blake is no stranger to the hip-hop world, as he’s earned recent production credits working on Kanye West’s Vultures 1 and Travis Scott’s Utopia.

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Fans figured that Blake and Lil Yachty could have something in the stash when a photo of them in the studio went viral last March. The British singer-songwriter detailed meeting up with the “Poland” rapper months later in an interview with DIY Magazine.

“[Yachty and I] had been working on something, and it just happened that he was in London. I asked him if he fancied going out to a club. I don’t think he probably knew what it would be like,” Blake said. “He happened to turn up at exactly the moment that the Ragga Twins came on stage. Suddenly, he was just stood there like, ‘Oh f—ing hell, this is a bit different.’”

Yachty dropped his “Cold Sunday” single earlier this month, and has notched guest verses with Kid Cudi, Chief Keef, Faye Webster and Fred Again in 2024.

Let’s Start Here arrived in January 2023, and debuted at No. 9 on the Billboard 200 with 36,000 album-equivalent sales in the first week.

“I did what I really wanted to do, which was create a body of work that reflected me,” Yachty told Billboard in his cover story of the solo album last year. “My idea was for this album to be a journey: Press play and fall into a void.”

Watch Yachty announce Bad Cameo below.