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Crypto proponent Snoop Dogg is officially partnering with Tune. FM as the face of the Web3 music streaming platform, Billboard can exclusively report. The first project being streamed under the new partnership is the newly released single “Spaceship Party.”
The rapper/entrepreneur also plans to move more of his catalog, including his Death Row Records material, to Tune.FM.
In publicly announcing the switch, Snoop bluntly states in a comment given to Billboard, “I don’t f**k with Spotify anymore. I’m only on Tune.FM.”
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Tune.FM styles itself as a decentralized Web3 streaming platform focusing on transparency, security and fairness for artists through blockchain technology. The platform’s native cryptocurrency is something called JAM. Unlike traditional services, it says it provides instant micropayments per second streamed. Users can sign up and start streaming without needing blockchain knowledge. Upon registration, a JAM wallet is automatically created, allowing users to spend JAM tokens on streaming, tipping artists and unlocking exclusive content.
Tune.FM says its AI-driven discovery algorithm promotes independent artists organically, bypassing paid placements. Additionally, artists can tokenize music rights, allowing fans to invest and earn royalties.
Snoop Dogg’s decision to partner with the platform came after meeting Tune.FM founder/CEO Andrew Antar at the Crypto Ball prior to President Trump’s inauguration in January.
“We are thrilled to welcome Snoop Dogg as the face of Tune.FM,” Antar tells Billboard. “Snoop is the OG pioneer who is always on the cutting edge of technology and new ways of doing business. He totally gets it, and we are ready to take on the world together.” A classically trained musician, Antar also plays violin on “Spaceship Party.”
Tune.FM
Cordell Broadus
Beyond moving his catalog to Tune.FM, Snoop Dogg is planning to host fan experiences and giveaways such as a private event at his house and VIP prize tiers. Additional plans include integrating Tune.FM into live events and exclusive concerts, as well as bringing unique artist-fan interactions and collectibles to the platform’s marketplace.
Tune.FM is also in talks with major labels (Universal, Sony), major distributors and high-profile artists to bring more exclusive content to the platform. According to a Tune.FM spokesperson, “Tune.FM operates under non-exclusive licensing agreements, enabling us to unlock new revenue streams for under-monetized catalogs and artist IP on both our streaming platform and marketplace.”
The rep declined to disclose specifics about any deals, but added, “we can share that major distributors and labels are increasingly coming on board to upload catalogs that have long been under-monetized.”
Taylor Lautner has no time for your body-shaming hate speech. The Twilight actor posted an Instagram Story on Wednesday (Feb. 26) in which he hit out at recent cruel comments about Selena Gomez that were re-posted influencer Alex Light. The British podcaster and body positivity advocate shared a before-and-after shot of the singer/actress that included harsh internet comments about Sel’s weight alongside her own statement about the “impossible” beauty standards society puts on women in the spotlight.
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While Light’s caption leaned into the theme of “out bodies are ours, not up for public discussion,” the inclusion of a round-up of unkind online statement’s about Gomez’s fluctuating weight appeared to set Lautner off.
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“It’s a cruel world full of hate out there,” wrote the actor, who in 2023 opened up on his podcast The Squeeze about how the focus on his physique during his Twilight years has had a lasting effect on his body image. “You can never please everyone nor should you have to. In my experience it doesn’t make the words sting less, it just refocuses you onto what matters,” Lautner continued. ” And it sure isn’t the shape, color or appearance of your body. Daily reminder to all of us to not forget how beautiful you are inside and out…and be a little bit nicer.”
Lautner’s post was cued to the 2011 Selena Gomez & the Scene song “Who Says,” which features the empowering lyrics: “I wouldn’t want to be anybody else/ You made me insecure/ Told me I wasn’t good enough/ But who are you to judge?/ When you’re a diamond in the rough.”
Gomez has repeatedly knocked down body shaming comments during her career, including speaking about her “weight fluctuation” following a 2015 lupus diagnosis and a kidney transplant in 2017 in a 2023 TikTok Live post addressing critiques of her body.
As a result of the diagnosis and other health struggles, Gomez explained in the Live that her medication causes her to hold on to water weight. “And that happens very normally,” she said at the time. “And then when I’m off of it I tend to kind of lose weight.” She also shared a positive message with her fans about their inner beauty and her focus on health first.
“I just want people to know that you’re beautiful and you’re wonderful,” Gomez told fans. “And yeah we have days where maybe we feel like s–t but I would much rather be healthy and take care of myself and my medications are important and I believe they are what helps me. So, yeah, not a model, never will be. And I think they’re awesome, mind you, I just, I’m definitely not that.”
You can see Light’s original post here.
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Shareholders at Apple rejected a proposal to end its diversity, equity, and inclusion program despite pressure from Republicans and President Donald Trump.
On Tuesday (Feb. 25), shareholders at Apple voted to reject a proposal to end the tech giant’s diversity, equity, and inclusion program. The proposal was presented by the conservative think tank known as The National Center for Public Policy Research. The group was hoping to coerce Apple to eliminate its DEI policies, using the agenda of President Donald Trump as an example to follow. The final tally was 8.84 billion votes to reject the proposal, with 210.45 million votes for it.
“We’ve never had quotas or targets for Apple. Our strength has always come from hiring the very best people and then providing a culture of collaboration, one where people with diverse backgrounds and perspectives come together to innovate,” Apple CEO Tim Cook said in a question and answer session at the meeting. He did acknowledge the pressures from Trump and other GOP supporters, adding that “as the legal landscape around these issues evolves, we may need to make some changes to comply, but our North Star of dignity and respect for everyone and our work to that end will never waver.” Apple disclosed in 2022 that three-fourths of its workforce were white and Asian, and two-thirds of the workforce were men. Its DEI policies are concentrated on initiatives that aid Black entrepreneurs and others of color, created in the wake of the killings of George Floyd and Breonna Taylor in 2020.
The National Center for Public Policy Research also presented a similar proposal to Costco Wholesale last month, which the shopping giant also rejected strongly. Despite companies such as Meta and Google rolling back some of their DEI initiatives, it’s estimated that roughly half of the corporate leaders surveyed since Jan. 20 about eliminating those programs are not planning to follow suit.
President Trump wasn’t pleased with Apple’s decision, blasting them in a Truth Social post: “Apple should get rid of DEI rules, not just make adjustments to them. DEI was a hoax that has been very bad for our country. DEI is gone!!!” The National Center for Public Policy Research’s proposal to Apple cautioned that they could be subject to lawsuits by the Trump administration, but Cook signaled that Apple is forming legal protections.
“Truck Bed” hitmaker and multiple award winner HARDY has launched label imprint Crow Records in partnership with Big Loud Rock. The inaugural signing to Crow Records is Sikarus, who will release his label debut, “Nonchalant,” tonight (Feb. 27).
HARDY formed Crow Records with his longtime partners at Big Loud Rock to sign, develop and release music from artists HARDY is inspired by.
Sikarus is the solo project from Nashville songwriter Jordan Brooker, who has written for Luke Combs (2019’s “Refrigerator Door”), among other artists. Brooker was raised on classic rock artists including Led Zeppelin and Nirvana, as well as turn-of-the-century alt-rock and pop-rock artists.
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“The second I heard Sikarus’ music I thought to myself, ‘What a cool sound, I want to do anything I can to be able to work with him,’” HARDY said in a statement. “I’ve known Jordan for many years and I’m so excited to finally be able to say that we are officially working together. I love rock ‘n’ roll, I love exploring new things and I couldn’t be happier for Sikarus to be the first artist signed to Crow Records.”
“I’m incredibly honored to be the first signing at Crow Records,” Sikarus added. “I think HARDY is one of the most brilliant musical minds I’ve ever met. We’ve been friends for a long time, so getting the chance to work with him in this capacity is so dope. ‘Nonchalant’ is all about that attitude of going with the flow and not getting hung up on the little things. It can be a really beautiful quality in a person, so much so that it makes you want to write a song about it.”
“HARDY is a generational talent and all of us at Big Loud Rock are honored to continue strengthening our partnership with him by joining forces on Crow Records,” Big Loud partner/Big Loud Rock president Joey Moi said. “Developing the next generation of alternative and rock artists is at our core, and collaborating with HARDY to sign and foster new talent in the space has the whole team excited as we continue to expand.”
HARDY has earned a trio of Billboard Country Airplay chart-toppers, as well as three No. 1s on the Hot Hard Rock chart. His recent project Quit!! topped the Hard Rock Albums chart with songs including “Rockstar” and “Psycho,’ as well as collaborations with Red Hot Chili Peppers’ Chad Smith and Limp Bizkit’s Fred Durst. Quit!! follows HARDY’s sophomore album, The Mockingbird & THE CROW, which featured both country and rock songs.
Sikarus will join HARDY on select dates of the Jim Bob World Tour this year, playing arenas and amphitheaters across the United States, including a stop at New York’s Madison Square Garden on Sept. 24.
See the full list of tour dates below:
Aug. 14—T-Mobile Center @ Kansas City, MO*
Aug. 15—Denny Sanford PREMIER Center @ Sioux Falls, SD*
Aug. 16—Somerset Amphitheater @ Somerset, WI*
Aug. 21—Van Andel Arena @ Grand Rapids, MI*
Aug. 22—Pine Knob Music Theatre @ Clarkston, MI*
Aug. 29—Maine Savings Amphitheater @ Bangor, ME*
Aug. 30—Xfinity Theatre @ Hartford, CT*
Sept. 4—Empower Federal Credit Union Amphitheater at Lakeview @ Syracuse, NY*
Sept. 5—The Pavilion at Star Lake @ Burgettstown, PA*
Sept. 6—Hersheypark Stadium @ Hershey, PA*
Sept. 11—Brandon Amphitheater @ Brandon, MS†
Sept. 12—Coca-Cola Amphitheater @ Birmingham, AL†
Sept. 13—CCNB Amphitheatre @ Simpsonville, SC†
Sept. 18—Lakewood Amphitheatre @ Atlanta, GA*
Sept. 19—MIDFLORIDA Credit Union Amphitheatre @ Tampa, FL*
Sept. 20—iTHINK Financial Amphitheatre @ West Palm Beach, FL*
Sept. 24—Madison Square Garden @ New York City, NY*
*With Koe Wetzel and Stephen Wilson Jr.
†with Stephen Wilson Jr.
ASCAP, the only not-for-profit performance rights organization in the U.S., which — after covering its overhead — shells out all of its collections to songwriters and publishers, reports revenue increased 5.7% to 1.835 billion from the prior year’s total of $1.737 billion. What’s more the PRO said the amount of its collections available for distribution totaled $1.696 billion, or a 6.5% increase over 2023’s total of $1.592 billion.
Out of that collected revenue, domestic royalties totaled $1.397 billion, up 5.3% from the 2023’s total of 1.327 billion; while foreign receipts grew 6.8% to $438 million, up 6.8% from the prior year’s total of $410 million. Put another way, domestic revenue comprised 76.1% of collections while foreign receipts comprised 23.9%.
ASCAP said its compound annual growth rate (CAGR) for total revenue for the 10 years leading up to 2024 was 7%, and that the CAGR for total distributions over the same time period was 8%. Its overhead expense structure remains at about 10%.
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“For songwriters, composers and publishers, ASCAP provides the best return on their performance royalties because they get 90 cents of every dollar we collect,’ ASCAP CEO Elizabeth Matthews said in a statement. “It’s that simple. We are the only US PRO that does not take a profit and the only one that can credibly say we put creators first in everything we do.”
In 2023, BMI, ASCAP’s main competitor and the only other U.S. PRO operating under a U.S. Dept. of Justice consent decree, abandoned its not-for-profit status in order to sell to a private equity firm, which occurred in 2024 when New Mountain Capital acquired the collection society. Besides BMI, both SESAC and GMR, aka Global Music Rights, are both for-profit performance rights organizations.
Breaking out its total $1.696 billion available for distributions, ASCAP reported that $1.284 billion was due to domestic songwriters and publishers while $438 million was available for foreign distributions. Overall, its domestic collections available distribution increased 5.5% from the prior year’s total of $1.217 billion, while foreign distribution availability increased 9.8% from $375 million in 2023.
Looking at its activities over the last year, ASCAP reported that signings and renewals include Katy Perry, Timbaland, Kacey Musgraves, Jack White, Justin Tranter, Neil Young, Graham Nash, Def Leppard, Sexyy Red, Max Martin, Hans Zimmer and Tate McRae; along with with the estates of Tom Petty and Jimi Hendrix.
ASCAP said it was active in helping to shape the U.S. Copyright’s Office recommendations on legal and policy issues related to copyright and AI; and formed a strategic alliance with SACEM, France’s collection management organization, to leverage their investments in infrastructure. Finally, ASCAP reported that it moved quickly to launch a $1 million emergency relief fund to assist Los Angeles-based ASCAP songwriter affected by the LA wildfires.
“ASCAP is committed to innovating, growing and evolving in ways that benefit our members, because music creators drive every decision we make,” ASCAP president and chairman of the board Paul Williams said in a statement. “Protecting the livelihoods of songwriters and composers and defending the value of music is a mission we take seriously. For us, this is more than just business – it’s personal, and that’s what sets ASCAP apart from any other PRO.”
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The man who has been convicted of the senseless murder of Rap pioneer Jam Master Jay was recently stabbed in a jail fight.
Karl “Little D” Jordan Jr. was recently involved in an altercation that led to him being stabbed at Metropolitan Detention Center (MDC) in Brooklyn, New York. According to The Daily News, the rumble stemmed from a dispute between two gangs. After the melee he was hospitalized and treated for his injuries, all which were non life-threatening. NBC News reports that a spokesman for the Bureau of Prisons confirmed that brawl happened around 1 p.m. Saturday, Feb. 22, between “multiple incarcerated individuals.” They also confirmed another unidentified individual also needed medical attention.
After many years of rumor and speculation the Jam Master Jay murder trial finally commenced in February 2024. Karl Jordan Jr. and Ronald Washington were both found guilty on counts of murder and trafficking. The United States Attorney’s Office allege that Jam Master Jay was financing drug buys. In August 2002, he is said to have purchased 10 kilograms of cocaine on consignment from a distributor out of California. The drugs were intended to be split up amongst Jam Master Jay and Karl Jordan, but a dispute led to the Rap pioneer cutting him out of the deal. Jam Master Jay was shot at his studio in Queens, New York, on Oct. 30, 2002.
Karl Jordan Jr. is currently awaiting sentencing.
California rock band Incubus will be the headlining act at the Viña del Mar International Song Festival 2025 on Thursday night (Feb. 27). They will perform at the Quinta Vergara amphitheater, the festival’s venue in the coastal city of Viña del Mar, Chile.
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Incubus is scheduled to take the stage at approximately 7:30 p.m. ET, followed by The Cult. The Bradford, England-based band, featuring Ian Astbury, Billy Duffy, John Tempesta, Charlie Jones and Mike Mangan, is scheduled to perform around 11:15 p.m. ET, after Chilean comedian Juan Pablo Lopez.
Both rock bands will perform for the first time at the Chilean festival, which can be seen in the U.S. exclusively on Billboard.com and BillboardEspanol.com.
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Formed in 1991 in Calabasas, California, Incubus is an alternative rock band that combines elements of heavy metal, hip-hop, funk, and grunge. They have managed to place five singles on the Billboard Hot 100, including “Drive” (No. 9), “Megalomaniac” (No. 55), and “Wish You Were Here” (No. 60), as well as 11 albums on the Billboard 200. Among these, Light Grenades reached No. 1 on the chart, while Morning View and A Crow Left of the Murder… both reached No. 2. Comprising Brandon Boyd (vocals), Mike Einziger (guitar, piano, backing vocals), José Pasillas (drums), Chris Kilmore (keyboards), and Nicole Row (bass), the group has sold more than 23 million records worldwide.
On the other hand, The Cult, which formed in 1983, has established itself over four decades as a prominent representative of gothic post-punk. Their hits “Fire Woman” and “Edie (Ciao Baby)” reached No. 46 and No. 93 on the Hot 100, respectively. In 2022, they released their 11th album, Under the Midnight Sun, marking their return after a prolonged period without recording in the studio.
Viña will continue on Friday (February 28) with urban night, featuring Duki as the headliner, Eladio Carrión, and Kid Voodoo. On Saturday (March 1), the festival concludes with the Colombian group Morat followed by Sebastián Yatra. Both were originally scheduled for Tuesday (February 25), when the show was canceled due to a massive blackout in Chile.
All nights will be livestreamed in the United States on Billboard and Billboard Español. Performances can be viewed on the player in this story beginning at 7:15 p.m. ET.
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In today’s episode of I’m Starting To Suspect America Has Been An Oligarchy This Entire Time, The Washington Post published a report Wednesday that shows Elon Musk, President Donald Trump’s white nationalist bosom buddy who Trump tapped to lead his Department of Government Efficiency (DOGE), has been the beneficiary of tens of billions in taxpayer funds over the last two decades.
It’s almost as if the real immigrant who is taking American jobs has been very efficient at taking money from the “big government” he and Trump claim they want to shrink so badly.
From the Post:
Over the years, Musk and his businesses have received at least $38 billion in government contracts, loans, subsidies and tax credits, often at critical moments, a Washington Post analysis has found, helping seed the growth that has made him the world’s richest person.
The payments stretch back more than 20 years. Shortly after becoming CEO of a cash-strapped Tesla in 2008, Musk fought hard to secure a low-interest loan from the Energy Department, according to two people directly involved with the process, holding daily briefings with company executives about the paperwork and spending hours with a government loan officer.
When Tesla soon after realized it was missing a crucial Environmental Protection Agency certification it needed to qualify for the loan days before Christmas, Musk went straight to the top, urging then-EPA Administrator Lisa Jackson to intervene, according to one of the people. Both people spoke on the condition of anonymity for fear of retribution.
Nearly two-thirds of the $38 billion in funds have been promised to Musk’s businesses in the past five years.
In 2024 alone, federal and local governments committed at least $6.3 billion to Musk’s companies, the highest total to date.
The U.S. has to be one of the only developed nations with “leaders” who will gleefully fork over billions in taxpayer funds to rich, white welfare queens and then turn around and treat poor people like they’re the burden the country can’t bear. That’s right, an immigrant-hating billionaire president appointed a billionaire immigrant who America already made an even richer billionaire to be the authority on government efficiency — and the MAGA world is still trying to credit Trump with restoring the government to one that is by the people and for the people. They’ve bought into the idea that DEI is destroying America while pretending not to see the quid pro quo energy that’s happening as unqualified white supremacy hires are filling their MAGA messiah’s cabinet.
Sad.
If you’ve seen A Complete Unknown, or gone to see Bob Dylan in concert over the past few decades, or checked out the the Nobel Prize winner’s social media feeds recently then you know that the rock and roll bard’s factory setting is inscrutable.
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Which, kind of, explains Dylan’s latest inexplicable Instagram missive: a no-context re-post of a 2016 in-store performance by Machine Gun Kelly at Park Ave. CDs in Orlando, FL in 2016. Why MGK? Why this clip? We will never know, but both Kelly and his good pal, singer/producer Mod Sun, were beyond pumped at the unexpected shout-out. (Check out the post here).
“you having a phone is so rad,” Kelly wrote in the comments on the post, with Mod Sun adding, “This is my favorite thing that’s ever happened on the internet.” Other commenters also weighed in with a mix of excitement and confusion, writing, “Bob probably thought this was [A Complete Unknown star] Timothée Chalamet so he reposted it,” “Think MGK has now won against Eminem. The greatest poet of all time has just reposted him,” “I love when Dylan fans get riled ’cause he throws a curveball,” “Bob respectfully what the f–k is this” and “Not a fan of MGK, myself… Genius sees genius. This guy can spit and it seems at least one person named Bob can hear it clearly.”
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While Dylan has posted some on-brand messages lately, including a tribute to his friend and late bandmate Garth Hudson last month following the death of The Band’s longtime keyboardist, the MGK love is in keeping with his out-of-left-field online activity. Earlier this year, the 83-year-old folk rock legend joined TikTok just days before what was slated to be a ban of the app, posting a kind of career retrospective clip, followed by a half dozen other archival videos.
Over on X, the past four months have found Dylan musing about seeing a Nick Cave show in Paris and being impressed by the singer’s moving track “Joy” and giving props to “brilliant actor” Chalamet’s role in A Complete Unknown, predicting that the actor would be “completely believable as me. Or a younger me. Or some other me.”
Classic Dylan.
He’s also paid tribute to another old bandmate, late rockin’ blues giant Paul Butterfield, and, last week, posted another tribute, this time to late bluegrass/country great Don Reno.
And if you scroll through the rest of his Instagram feed, over the past two months, mixed in with promos for his ongoing Rough and Rowdy Ways world tour, you’ll see an archival video of Les Paul introducing late Van Halen guitarist Eddie Van Halen at a Les Paul tribute show in 1988, a random Ricky Nelson performance clip, a snippet of director Fritz Lang’s 1952 noir romance Clash By Night starring Barbara Stanwyck and Marilyn Monroe and a live performance video of beloved guitarist Django Reinhardt.
Mix in a post of the classic Twilight Zone episode “To Serve Man” and a reading of the “Last Testament” of the outlaw (and older brother of Jesse) Frank James.
What does it all mean? Who knows? But in the immortal words of Dylan: “don’t criticize what you can’t understand.”
The 30th anniversary run of the Vans Warped Tour has unveiled the (almost) full lineups for the three get-back shows planned for this year. After teasing a few bold names last month, the two-day festivals in Washington, D.C., Long Beach, CA and Orlando, FL have now rolled out just about all the names for this year’s events, with just a few acts still blacked-out on the super-packed event posters.
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With each stop showcasing between 70-100 bands, there is a little something for everyone at the kick-off D.C. show (June 14-15), which includes: 3OH!3, All Time Low, Asking Alexandra, Atmosphere, Avril Lavigne, Blessthefall, Bowling for Soup, Boys Like Girls, Chiodos, Dance Hall Crashers, Escape the Fate, Fishbone, From Ashes to New, Hawthorne Heights, Ice Nine Kills, Knuckle Puck, Less Than Jake, MGK, Miss May I, Mod Sun, Motion City Soundtrack, Pennywise, Scary Kids Scaring Kids, Senses Fail, Silverstein, Simple Plan, State Champs, Streetlight Manifesto, Sublime, The Aquabats, The Maine, The Red Jumpsuit Apparatus, The Suicide Machines, We Came As Romans, Yung Gravy and many more.
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The Long Beach, CA shows (July 26-27) will feature a number of the same acts as well as: Ava Maybee, Aviva, Better Lovers, Black Veil Brides, Blackbear, Body Count, Cartel, CKY, Cobra Starship, Comeback Kid, Destroy Boys, Dexter and the Moonrocks, Drain, Dropkick Murphys, Drug Church, Enter Shikari, Falling in Reverse, Four Year Strong, Girlfriends, Gogol Bordello, Honey Revenge, Hot Milk, Iann Dior, Ice-T, Kennyhoopla, Landon Barker, Magnolia Park, Mariachi El Bronx, Memphis May Fire, Mom Jeans, Nova Twins, Ringpop!, Slaughter to Prevail, The Interrupters, The Vandals, The Wonder Years, Zulu and more.
The final dates in Orlando (Nov. 15-16) will have a number of the same bands, in addition to: A Loss For Words, Amigo the Devil, Angel Dust, Arrows in Action, Atila, Beauty School Dropout, Chained Saint, Charlotte Sands, Crown the Empire, Drain, Fever 333, Flycatcher, Games We Play, Good Riddance, Gym Class Heroes, Hail the Sun, Head Automatica, Holywar, I See Stars, Jager Henry, Jeremy Romance & the Zero Friends Club, Jutes, Koyo, Left to Suffer, Lolo, Movements, Plain White Ts, Royal & the Serpent, Scene Queen, The Expendables, Thursday and Yellowcard, among others.
Warped Tour was founded by Kevin Lyman and toured the country from 1995-2018, spotlighting hundreds of up-and-coming and classic punk, emo, hardcore and pop punk bands over the years. After shutting things down after the 2018 edition, Lyman rebooting it one more time in 2019 for a three-show 25th anniversary run.
In a statement about this year’s shows, Lyman said, “Putting together a lineup is never an easy task, but each act, both new and returning, plays an important role in delivering an unforgettable experience for fans, especially at the price point we’re offer. We collaborated closely with the bands to create some exciting surprises, exclusive content, and more for fans to enjoy. So follow along, soak in the journey, and who knows — you might just discover your next favorite band!”
Check out the 2025 Vans Warped Tour posters below: