Business
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Ye (formerly Kanye West) has reached a settlement in a copyright lawsuit that accused him of using an uncleared sample from the pioneering rap group Boogie Down Productions in his song “Life of the Party.”
In court documents filed Monday, attorneys for both sides agreed that Ye should be dismissed from the case, with each side to pay their own legal bills. No other terms of the agreement were disclosed publicly, and neither side immediately returned requests for comment.
The Boogie Down lawsuit was one of more than a dozen such cases that have been filed against Ye over claims of unlicensed sampling or interpolating during his prolific career. The controversial rapper has faced nine such infringement cases since 2019 alone, including a high-profile battle with estate of Donna Summer that settled earlier this year.
Filed in November 2022, the current lawsuit was lodged by Phase One Network, the group that owns Boogie Down’s copyrights, over allegations that Ye had used incorporated key aspects from the 1986 song “South Bronx” into “Life of the Party,” which was released on his 2021album Donda.
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Echoing several other sampling lawsuits against Ye, Phase One claimed that the rapper’s representatives had reached out to legally clear the use of the Boogie Down song – but then released it anyway when a deal was never struck.
“The communications confirmed that ‘South Bronx’ had been incorporated into the infringing track even though West had yet to obtain such license,” Phase One’s lawyers wrote. “Despite the fact that final clearance for use of ‘South Bronx’ in the infringing track was never authorized, the infringing track was nevertheless reproduced, sold, distributed, publicly performed and exploited.”
Last summer, attorneys for Ye fought back with an unusual argument: That Boogie Down founder KRS-One had publicly promised all future rappers that “you will not get sued” over sampling the group’s catalog. They cited a 2006 documentary called The Art of 16 Bars, in which KRS-One said “I give to all MCs my entire catalogue.”
Phase One later called that a “bizarre argument,” noting that, when the documentary was made, KRS-One didn’t actually own the music he was claiming to place in the public domain: “Movants cite to no law to support such a theory. KRS-One also could not have placed the Work in the public domain as he did not own it.”
Following Monday’s agreement, Ye and his Yeezy LLC will be dropped from the lawsuit but the case will continue against other several defendants, including the company behind the Stem Player platform on which the song was allegedly released.
Warner Records has signed Madrid-based pop singer and multi-instrumentalist Rusowsky via a joint venture with Rusia IDK, an artist collective led by Rusowsky and singer-producer Ralphie Choo.
Rusowsky (real name Ruslan Mediavilla) is a well-known figure in Madrid’s alternative music scene. He started releasing music in 2019 and has since collaborated with artists including C. Tangana, DELLAFUENTE and Choo; he’s also played festivals including AXE Ceremonia, Sonar and Lollapalooza in South America. According to a press release, he’s racked up more than 115 million global streams across his catalog.
“This partnership is emblematic of Warner Records’ storied history as a home for true artists across all genres,” said Jackson Harris, manager of A&R at Warner Records, in a statement. “Rusowsky and RUSIA IDK are inspiring a musical and cultural revolution. From head-turning music to mesmerizing live performances, I’m excited for new audiences to learn about these brilliant musicians.”
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Added RUSIA IDK founder Manuel Jubera Suárez: “This is an unprecedented partnership that not only marks a before and after in the Spanish music scene, but also represents a key to enter the American market. The intention is to open new doors for Spanish music, bringing its essence and diversity to a global stage. Thanks to Aaron Bay-Schuck, Tom Corson, Jeff Sosnow and Jackson Harris. And, of course, it would never have been possible without mori, DRUMMIE, Ralphie Choo, Rusowsky and TRISTÁN!, the true essence of RUSIA-IDK.”
Rusowsky is represented by agent Devin Landau at TBA.
Elsewhere…
Katharine McPhee signed a label deal with Nashville-based company Melody Place, which will release new music from the singer and actress early next year. McPhee is slated to make her Grand Ole Opry debut on Oct. 12.
U.K. band The Last Dinner Party signed with PPL for the collection of their international neighboring rights royalties. In February, the five-piece group notched a No. 1 album in the United Kingdom with their debut studio set Prelude to Ecstasy. According to a press release, the band accumulated more than 688,000 seconds of airplay between April 2023 and May 2024, with the majority (62%) of that coming from their debut single “Nothing Matters.”
PULSE Records signed former America’s Got Talent winner Grace VanderWaal. The label released her new single, “Call It What You Want,” on Friday (Aug. 16); it will be followed by an album next spring. VanderWaal is managed by Brad Cohen at Raw Material and booked by Janet Kim at UTA.
BBR Music Group/BMG Nashville signed country singer-songwriter Lanie Gardner, who first rose to attention with her rendition of Fleetwood Mac’s “Dreams.” She was recently featured on the Twisters soundtrack with the track “Chasing the Wind” and is slated to tour with Jelly Roll and ZZ Ward. Her most recent single is “Lord Knows.”
Red Bull Records signed singer-songwriter Morgan (“ADCT”) and released her new single, “Bum Bum,” on Friday (Aug. 16). Morgan previously released collaborations with and wrote songs for the dance group Rudimental before collaborating with acts like Purple Disco Machine, Sonny Fodera and Sigma. She released her debut solo EP, Alien, in 2020.
Music, audio post-production and sonic branding company Barking Owl added composer, songwriter and producer Dan Romer to its roster. Barking Owl will exclusively represent Romer — whose scores include Beasts of the Southern Wild, ABC’s The Good Doctor and HBO MAX’s Station Eleven, among others — for advertising and branded content. His production credits include A Great Big World and Christina Aguilera’s “Say Something” and Shawn Mendes’ “Treat You Better.”
Pop-rock artist Bailey Spinn, known for her popular YouTube covers of songs including Olivia Rodrigo’s “Traitor,” signed with AWAL, which released the acoustic version of her viral song “Happy Ending” on Aug. 7 (to be followed by the release of her debut album). Spinn is managed by Temima Shames at Next Step Talent and booked by Jason Parent at Sound Talent Group.
Canberra, Australia band Teen Jesus and the Jean Teasers signed with Mom + Pop for the world (minus Australia and New Zealand). The band is ramping up for the release of I Love You Too, an extended version of its debut album I Love You, on Sept. 20; the set will feature three new songs, including the newly-released “Dull.” The Jean Teasers opened up dates for Foo Fighters in Australia and are slated to play several shows in the U.S. later this year, including a slot at Eddie Vedder’s Ohana Festival.
Wasserman Music signed country singer-songwriter Angie K to its roster, with Wasserman’s Nate Ritches representing her for worldwide representation. A 2024 CMT Listen Up Artist, Angie K is repped by JR Schumann for management, Huskins-Harris for business management and Essential Broadcast Media for public relations. – Jessica Nicholson
Singer-songwriter Christian Hayes, who first garnered attention when he posted a video of himself singing his song “Leaving” on Instagram in September 2023, has signed with WME, Universal Music Publishing Group and Flood Bumstead McCready & McCarthy for business management. He is managed by Helena Capps at Wildrose Projects. According to a press release, Hayes’ single “LILY” has racked up more than two million streams since its release this spring.
Warner Music Nashville signed The Band Loula and will release its major label debut track, “Don’t Call Me,” on Friday (Aug. 23). The band is managed by Mary Hilliard Harrington, Chip Dorsch and Christina Dunkley and booked by Grace Stern and Jay Williams at WME.
Artist-composer duo Idle Echoes (composed of Arkfoo and Jeff Dodson) has released its debut album Velvet Phoenix on the ALIBI Music label. ALIBI Music is best known as a provider of music and sound effects for licensing in film, TV, advertising, video games and more.
will.i.am has launched a new AI-driven radio service, RAiDiO.FYI, to evolve the static medium into a more personalized experience. With RAiDiO.FYI, users are able to have conversations with AI DJs about anything from music, to breaking news, to sports, to weather reports — and the service will create a listening experience designed to each user.
The new offering is part of FYI, a multi-faceted tech company which will.i.am founded to help “maximize creativity” for artists with the help of AI personas, file management, project management, design tools and more. Users can start listening for free on the FYI app, available for both iPhone and Android smartphones.
will.i.am says he had an “aha” moment when he was recently on a radio show and the DJ opened the request line. “The request line has always been always been awesome for radio with when the callers get to call in and talk to the DJ or talk to the guests, but they’re limited to one person at a time,” he tells Billboard. “And then after the broadcast you couldn’t talk the host.”
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While the relevance of AM/FM radio continues to wane, particularly with younger audiences, will.i.am’s RAiDiO.FYI promises to reinvigorate the medium by switching it from a passive, immovable experience to one that is much more engaging and playful.
“This is an infotainment revolution where you can go back and forth with information in a deep way, and I’m so excited to be launching that with FYI, and to all the folks out there listening,” says will.i.am.
In the future, FYI will continue to partner with content creators from various internet niches to publish their own stations on the radio, including stations dedicated to spots, tech, politics, music and more.
SYDNEY, Australia — Playbill Group, the venue management business that operates the Hordern Pavilion, a Sydney landmark, has struck a partnership with AEG Presents and Frontier Touring, part of the Mushroom Group.
Going forward, Michael Nebenzahl continues as managing director of Playbill, in a “business as usual” arrangement, reads a joint statement.
Playbill and Frontier, both Australian, family-founded companies proving competitive on the global stage, have much in common, Frontier Touring CEO Dion Brant tells Billboard. “When we met Michael and his team it became obvious that the similarities didn’t stop there. We think very similarly, we have similar values and a similar culture. Both companies care deeply and go the extra mile for their clients, be it a theatrical production, a sporting team, or a music artist. Both go out of their way to treat fans well. And both focus on hiring and developing talented people, care about their people and trust them to deliver day in day out.”
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He adds, “with all the things the companies have in common the partnership feels natural for both.”
Formed in 1958 by Brian and Jocelyn Nebenzahl, Playbill’s interests include management of the Hordern Pavilion, which this year celebrates its 100th anniversary, and will host the ARIA Awards this November for the third-successive year.
From its grand opening in 1924 until 1983 (when the now demolished Sydney Entertainment Centre first opened its doors), the Hordern, with its 5,500-capacity, was the largest indoor venue in the country’s biggest city. Over time, the room has hosted concerts by a who’s who of global superstars, from Frank Sinatra to Coldplay, Foo Fighters, Nirvana, David Bowie, Queen and the Jackson Five.
Playbill also merchandises for theatrical productions including musicals, national theatre and music companies in 12 countries worldwide, and partners with major sporting teams and operates venue concessions across the country and in Asia.
Playbill’s merchandise division has “been a mainstay” of the theater scene in Australia for over 60 years, notes Brant, “and is now a major force” on the world stage.
“I am delighted to be partnering with AEG Presents and Frontier Touring in this next phase of the Playbill journey,” comments Nebenzahl in a statement. “We have always prided ourselves on serving our customers, whether in musical theatre, sport or as a venue through the Hordern Pavilion. In AEG, we have found a like-minded partner to continue to honor the legacy my parents created when they founded the business.”
Frontier Touring and AEG Presents, the live-entertainment division of Los Angeles-based AEG, struck a strategic joint venture in 2019, formalizing a successful 12-year arrangement on tours into these parts. With that agreement, the award-winning Australian concerts specialist stepped into a global family whose portfolio includes venues around the globe, many at the arena-and-stadium level.
AEG has a long-established presence here through its then-named AEG Ogden joint venture, the largest venue management company in Asia Pacific. In 2019, AEG Facilities, the venue management subsidiary of AEG, announced a merger with SMG to create a new management empire called ASM Global, which would collect more than 300 facilities worldwide under a single banner.
“The Hordern and Frontier have a long-standing relationship bringing the best live music to Sydney,” comments Anthony Dunsford, GM Playbill Venues. “We look forward to continuing our role to bring iconic acts to the fans.”
After fully embracing Charli XCX’s Brat summer, Vice President Kamala Harris’ campaign for president has taken Harris’ connection to the pop singer one step further by sponsoring Spotify’s official “This is Charli XCX” playlist.
Listeners on Spotify’s free, ad-supposed tier will now see an ad running on the playlist stating that the content is presented by the Harris/Walz campaign — effectively promoting the campaign for Harris and her running mate, Minnesota governor Tim Walz. Spotify’s free users will see the ad on both mobile and desktop versions of the Spotify app.
The two-and-a-half hour, career-spanning playlist boasts some of Charli XCX’s best-known songs, including “Guess” featuring Billie Eilish, “Speed Drive” from the Barbie soundtrack and “Boom Clap” from 2014’s sucker.
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According to Spotify’s advertising policy, the streaming service sells political ads in the U.S., U.K. and India only and has done so for a number of years.
The fine print states that ads are limited to those placed by candidates; political parties; political committees; any entity registered or reporting under any federal, state or local campaign finance law; or other entities sponsoring ads on behalf of any of the above-listed categories. The ads may feature a candidate for elected office; a current elected officeholder; or a ballot measure, proposition or initiative. It adds that the title sponsor (in this case, the Harris/Walz campaign) is not the only sponsor and other ads may be heard during a listening session.
The Harris/Walz ad began running at midnight on Monday (Aug. 19) and is slated to end on Sunday night (Aug. 25). Spotify did not respond to a question asking whether Charli XCX had to sign off on the ad.
Other U.S. political campaigns that have run ads on Spotify this year include those of Sherrod Brown, Eric Hovde, Sandy Pensler, Rick Scott, Elissa Slotkin and Tim Sheehy.
Though Charli XCX has not commented on the ad buy, the singer has previously declared her support for Harris. On July 21, the day President Joe Biden dropped out of the 2024 presidential race and endorsed Harris, the pop star posted “kamala IS brat” on X (formerly Twitter). The KamalaHQ X page has also leaned in, with the home page displaying “kamala hq” in the Brat album’s signature lime green color.
The 2024 Democratic National Convention kicked off Monday night at Chicago’s United Center with performances from artists including Jason Isbell, Mickey Guyton and James Taylor.
The U.S. Department of Justice has refiled its historic anti-trust lawsuit against concert promoter Live Nation, with 10 additional states joining the effort to break up the company more than a decade after its 2010 merger with Ticketmaster.
The Attorneys General for Indiana, Iowa, Kansas, Louisiana, Mississippi, Nebraska, New Mexico, South Dakota, Utah and Vermont were added to an amended complaint filed in New York’s Southern District on Monday (Aug. 19), bringing the total number of states participating in the lawsuit to 40 total, along with the District of Columbia.
“There is nothing new in the Amended Complaint,” a statement from Live Nation reads. “The lawsuit still won’t solve the issues fans care about relating to ticket prices, service fees, and access to in-demand shows. We look forward to sharing more facts as the case progresses.”
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The amended lawsuit re-alleges that Live Nation and Ticketmaster acted like a monopoly and violated Sections 1 and 2 of the Sherman Act by using illegal tactics to expand its concert promotion business and management of amphitheaters. The new complaint also includes new details about how Live Nation allegedly expanded its ticketing business after it merged with Ticketmaster in 2009, including information about the company’s controversial relationship with arena developer and operator Oak View Group (OVG). Founded in 2015 by Tim Leiweke and music manager Irving Azoff, Oak View Group manages nearly 200 venues and relies on Live Nation to bring major tours to its concert facilities, which includes such top U.S. venues as Climate Pledge Arena in Seattle, the Moody Center in Austin and UBS Arena in Belmont, N.Y.
As the building manager’s main representative, OVG is supposed to manage the competitive process for selecting a venue’s ticketing contract, but the complaint alleges that OVG is obligated to “advocate for exclusive agreements with Ticketmaster for more than 100 venues Oak View Group manages” — which the lawsuit claims essentially “locks those venues into long-term exclusive Ticketmaster agreements.” The agreement, the government argues, unfairly prevents third-party competitors from entering the ticketing space while compensating OVG with a substantial “incentive payment” from Live Nation plus significant annual payments.
In fairness, OVG’s competitor AEG — which also competes with Live Nation for concert promotion and ticketing — also accepted payments for the buildings it managed under ASM Global, the building management firm it owned with Canadian private equity firm Onex and recently sold to Legends Hospitality.
The revised complaint does not include additional damaging exchanges between Live Nation CEO Michael Rapino and potential competitors, or new damaging information that shows the company employing heavy-handed tactics. Instead, it contains more analysis of the concert market following the merger of Live Nation-Ticketmaster. On that front, according to the complaint, “Live Nation’s conduct has harmed fans because they have been left with fewer concerts, have had more limited choices among touring artists, have paid higher ticketing fees, and have experienced a lower-quality ticketing experience than they otherwise would have but for Live Nation’s anticompetitive conduct.”
The creator of Ibiza clubbing institutions Hï and Ushuaïa has announced the opening a new nightclub on the island in 2025.
The space, called [UNVRS], has been dubbed a “hyperclub,” by The Night League, the group behind the new concept and the other two afrorementioned clubs.
While details are still scant regarding what a “hyperclub” is, what this space will look like or what kind of music it will program, Yann Pissenem, the owner, founder and CEO of The Night League tells Billboard that with the new space, “we’re taking everything we’ve learned from creating Ushuaïa and Hï Ibiza—venues ranked among the world’s best—and pushing the boundaries even further.
“A Hyperclub is the next evolution in global nightlife,” Pissenem continues. “Imagine seeing your favorite artists in a space that offers the best elements of a club, the infrastructure of an arena, and the best hospitality in the world.[UNVRS] is about attention to granular detail, from the finishes across the venue to the unique experiences our guests will never forget. It’s a space that retains the raw energy of a rave, connecting the present and future within the walls of stunning architecture.
The announcement of the club technically began on July 31, when many in Ibiza reported seeing a mysterious object in the sky near Es Vedra, a large rock formation just off the coast of the island’s west coast.
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Today (Aug. 19) that situation was revealed to be a marketing stunt, with none other than Will Smith (an original Man In Black, of course) posting a video of himself to Instagram saying he’d seen the “UFO sighting” and therefore “hit my boy Yann, and Yann is like the king of Ibiza,” with Pissenem then sending Smith a pinned location on the island, which lead Smith to the construction site of the new club. In the video, Smith meets Pissenem at the site, with Pissenem declaring “welcome to [UNVRS]” as the Men In Black them song plays.
With The Night League, Pissenem has made Ushuaïa and Hï destinations for many of the world’s biggest DJs, with this season’s Ushuaïa residents including Calvin Harris, David Guetta, Martin Garrix and Armin van Buuren and Hï hosting heavy hitters like Black Coffee, Eric Prydz, Fisher and many more. The company says that together, these clubs bring in 1.5 million attendees each season.
“Ibiza has always been the epicenter of global club culture, and we feel a responsibility to elevate it again, ensuring it remains at the forefront of the nightlife scene,” Pissenem continues to Billboard. “With [UNVRS], we’re not just preserving Ibiza’s prestige; we’re redefining what’s possible in club culture.”
Christoph Behm has been named the new CEO of Sony Music Germany, Switzerland and Austria (GSA), replacing Patrick Mushatsi-Kareba, who is exiting the company at the end of August.
Berlin-based Behm, who began his career at Sony Music in 2011 and has worked in a number of senior roles for the label over the past decade, including head of streaming and director of digital sales, will report to Daniel Lieberberg, president of Sony Music Continental Europe and Africa.
In a statement announcing Behm’s promotion, Lieberberg said the newly appointed CEO’s “deep understanding of our DSP partners and creativity as a leader will serve him well in his new role.”
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“Christoph has played an important role building and expanding our business across this region during the streaming era,” said Lieberberg. “He has worked closely with our artists to bring their music to new fans in innovative ways and has embraced continuous industry change to create opportunity despite rapidly shifting paradigms and business models.”
Sony Music did not provide any details about Mushatsi-Kareba’s departure from the company. The outgoing CEO has headed Sony Music’s operations in the GSA region since 2018 when he joined the label from Universal Music Germany. Prior to that, Mushatsi-Kareba spent eight years at Apple, where he was responsible for overseeing the tech company’s music business in multiple European markets, including Germany, Austria, Italy and Switzerland.
Although Sony Music GSA has enjoyed significant commercial success over the past six years, sources with inside knowledge of their relationship tell Billboard that Mushatsi-Kareba and Lieberberg did not always see eye to eye.
Prior to his promotion to CEO, Behm held the role of senior vp of Sony Music GSA’s commercial division, where he oversaw a large team, including the company’s family entertainment business. In the past two years, Behm’s responsibilities grew to also encompass oversight of catalog, sales and streaming departments in the region.
Top-selling frontline Sony artists in the GSA market include Apache 207, Nina Chuba, Rap Larue and Reezy.
“It fills me with pride to now lead the company that I have served in various roles for so many years,” said Behm, who takes up the CEO post on Sept. 1, in a statement. “We are at another exciting time for our industry, and I look forward with great confidence to this next chapter for Sony Music GSA,” he added.
Germany is the world’s fourth-biggest recorded music market in IFPI’s annual rankings behind the United States, Japan and the United Kingdom.
YoungBoy Never Broke Again (aka NBA YoungBoy) will plead guilty to a federal gun charge that saw him held under house arrest for more than two years while awaiting trial, according to new court filings.
In a notice lodged in court Wednesday (Aug. 14), the rapper (real name Kentrell Gaulden) told a federal judge that “I wish to plead guilty to the offense charged” — referring to a single count of possession of firearms by a convicted felon.
It’s unclear whether the guilty plea is the result of an agreement with prosecutors or will result in a more lenient sentence. YoungBoy’s attorney did not immediately return a request for comment.
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The rapper was indicted by federal prosecutors in 2021 after he was allegedly found with two guns during a September 2020 incident in Baton Rouge, La. He was charged with violating a long-standing federal law that bans convicted felons from possessing guns — a rule that applied to him because he had previously been convicted in 2017 of aggravated assault with a firearm.
The rapper had finally been set for a trial on that charge this July. But in a March ruling, a federal judge paused the case to await a Supreme Court ruling on a major gun-control case that could play a key role in YoungBoy’s efforts to avoid a conviction. That ruling came out in June, but the case had yet to fully resume when Wednesday’s notice was filed.
While awaiting trial, YoungBoy has been confined to his Salt Lake City mansion — a house arrest that’s lasted more than two full years. In October, his attorneys pleaded that the “long period of social isolation” was harming his mental health and asked that the judge loosen restrictions, including allowing him to travel to a recording studio to create new music. But that request was largely denied in November.
While Wednesday’s plea will resolve the federal gun charge, YoungBoy is facing dozens of newer state charges in Utah after he was arrested in April for allegedly running a “large scale prescription fraud ring” while living under house arrest.
Those charges include identity fraud, obtaining a prescription under false pretenses, forgery, possession of a dangerous weapon by a restricted person, engaging in a pattern of unlawful activity and possession of a controlled substance.
YoungBoy was granted release on bond in May; it’s unclear when he might ultimately face trial on the prescription drug charges.
Adidas AG has won a court order dismissing a class-action lawsuit that claims the German sneaker giant violated securities laws by failing to warn its shareholders about Ye’s offensive behavior.
The case claimed that Adidas knew about serious problems with Ye (formerly Kanye West) as far back as 2018 but failed to disclose them, leaving investors facing losses when the company finally ended the partnership in 2022 over Ye’s antisemitic tirades and erratic behavior.
In a ruling Friday (Aug. 16), Judge Karin Immergut said she did not condone Ye’s conduct “erratic, inappropriate, and antisemitic” behavior and said it was “troubling” that it had happened at Adidas, but that it did not rise to the level of securities fraud.
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“The question before this court is not whether to admonish Ye or hold Adidas morally accountable for Ye’s conduct,” Immergut wrote. “Rather, this Court is faced with a precise legal question: has Plaintiff sufficiently pleaded facts showing that Adidas misled investors and thereby committed federal securities fraud? On the current record before this Court, the answer is no.”
Adidas ran a lucrative collaboration with Ye and his Yeezy apparel brand for nearly a decade. But the party ended in 2022, when the sneaker company (and many others) cut ties with the embattled rapper amid a wave of offensive statements he made about Jewish people. In an October 2022 statement announcing the split, Adidas said the rapper’s statements were “unacceptable, hateful and dangerous.”
It’s been a messy breakup for Adidas. The split contributed to a loss of $655 million in sales for the last three months of 2022 and left Adidas holding $1.3 billion worth of unsold Yeezys and facing tricky questions about how to dispose of them responsibly. Adidas also battled Ye in court over millions in company funds and disclosed that it was litigating other aspects of the divorce in private arbitration.
In May 2023, a group of investors took Adidas to court over the breakup, arguing that Adidas executives had been aware for years of the potential harm that could come from the Ye partnership but had failed to publicly share such concerns with shareholders, as required by U.S. securities law.
In particular, the lawsuit cited a November 2022 Wall Street Journal article reporting that Adidas executives feared for years that the Yeezy relationship could “blow up at any moment.” The article reported that West had made antisemitic comments in front of Adidas staffers, including suggesting that an album be named after Adolf Hitler. The Journal story also highlighted a 2018 presentation to then-CEO Kasper Rørsted that detailed the risks of the arrangement and contemplated cutting ties with him.
But in Friday’s ruling, Judge Immergut sided with arguments from Adidas that the company’s disclosure statements had not misled investors about the risk posed by Ye. In one passage, she reminded the plaintiffs that Ye had shown signs of erratic behavior well before the split with Adidas — quoting statements in which he said that “racism is a dated concept” and that slavery was a “choice.”
“This court would be remiss not to note the very public nature of Ye’s behavior before Fall 2022,” the judge wrote. “After all, courts are not required to exhibit a naiveté from which ordinary citizens are free.”
The judge gave the investors one final chance to refile an updated version of their case against Adidas, but she cast doubt on whether they could overcome the problems she had identified in her ruling.
Attorneys for both sides did not immediately return a request for comment.