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Warner Chappell Music has promoted Lázaro Hernández to senior vice president, A&R, U.S. Latin & Latin America. The Miami-based executive — who most recently helped sign Maria Becerra, Chencho Corleone and Gabito Ballesteros — will lead the U.S. Latin A&R team while expanding his responsibilities to shape the company’s overall A&R strategy in Latin America. He […]
Chicago rapper Lil Zay Osama is facing a two-count federal indictment for illegal firearm possession after he allegedly left an automatic Glock pistol in the back of an Uber after a ride in New York City.
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Prosecutors say that Lil Zay (real name Isaiah Dukes) carried a loaded pistol that had been modified into a machine gun during the rideshare trip from a luxury hotel in Manhattan to a recording studio in Queens, then left it in the back when he exited the vehicle.
The indictment, handed down by a Brooklyn federal grand jury Wednesday, charges Lil Zay with possession of a machine gun and possession of an unregistered firearm – accusations that carry a prison sentence as long as twenty years if he’s convicted.
“Machineguns have no place on the streets of our communities,” said Tommy Kalogiros, the lead investigator at the federal Bureau of Alcohol, Tobacco, Firearms and Explosives, better known as the ATF. “They are weapons intended to kill and injure with maximum effect, with the shooter often firing uncontrollably and indiscriminately.”
The new federal case is only the latest gun charge for Lil Zay.
Last month, he was arrested in Chicago after Lil Zay and three other men allegedly led police on a high-speed chase. When the car was finally stopped, police reportedly found multiple loaded Glock pistols, as well as the same kind of modification device to convert a firearm into a fully automatic machine gun that was featured in Wednesday’s indictment. Before that, Lil Zay was reportedly arrested in Chicago in January 2023 on separate weapons charges – an incident that led to Lil Zay’s awkward-looking mugshot going viral on social media.
After the September 2022 taxi incident at the center of Wednesday’s indictment, Lil Zay was arrested in New York, but he was later released after he posted bond. Two months later, the rapper claimed on Instagram that the case over the incident had been “dismissed” and demanded an apology from hip hop personality DJ Akademiks, who had publicized incident on social media.
“Me personally leaving a gun in an Uber? Think about it lol I never did that!” he wrote in an Instagram story the time. “So stop saying I did cause if I did DNA would’ve been on gun and they would have found me with it.”
The late Chris “CM” Murphy, the enigmatic entrepreneur who guided the career of INXS, and mapped out a raft of projects which kept their music alive, well after the band had called time on touring or creating new music, is posthumously awarded the Medal of the Order of Australia (OAM).
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Murphy, who died in January 2021 following a battle with cancer, is awarded for “service to the performing arts through music,” and is one of 1,042 Australians recognized “for distinguished and conspicuous service” on Australia Day, Jan. 26.
Murphy managed the new wave legends from 1979 until 1995, and again in the 2000s – following the death of frontman Michael Hutchence.
Formed in Western Australia in 1977, INXS summited the mountain that is popular music with six U.K. top 10 albums (including a No. 1 with Welcome To Wherever You Are from 1992) and five U.S. top 20 albums, a BRIT Award (in 1991 for best international group) and, in 2001, elevation into the ARIA Hall of Fame.
The band’s journey was tragically derailed by the 1997 death of Hutchence, at the age of just 37, though INXS continued with replacement singers. The end of the road came in 2012 with a show in Perth, where the group’s journey began all those years ago.
It was Murphy who saw a golden future — and opportunity — for INXS and its catalog, which didn’t rely on performance or new music.
Through a combination of strategic music releases, remixes, film, exhibitions, merch, media partnerships and more, INXS would become the biggest-selling act in Australia in 2014, a full two years after the band played its final gig. Indeed, the band’s best-of collection from 2011 was the best-selling album by a homegrown act in Australia last year.
The surviving members of INXS last year reunited in Sydney to launch Calling All Nations, a 400-plus “love letter” created by a global fanbase and the band, and released through a partnership of Murphy’s Petrol Records, UMe, uDiscover Music and This Day In Music Books.
“Chris was hungry,” recounted founding saxophone player and guitarist Kirk Pengilly during that rare reunion. “He just took no prisoners”.
Other music industry standouts named in the Australia Day 2024 Honours List include Milly Petriella, managing director of Milk and Honey’s operations in Australia and New Zealand, who is lauded with an OAM for “service to music and the performing arts.” That service included a 27-year stint as director, member relations and partnerships at APRA AMCOS, from 1995 to 2022, where she earned a reputation for moving mountains for the PRO’s members.
During her time at APRA AMCOS, Petriella founded the Vanda and Young Global Songwriting Competition, which has raised over A$2 million for Nordoff-Robbins since its launch in 2009; served as creative producer of the APRA Music Awards; championed the SongHubs program; administered the society’s Ambassador program; the Professional Development Awards; the Women In Music Mentorship program; the Vanda and Young Global Songwriting Competition; and grew its Los Angeles, London and Nashville as director, Global Music Export Offices.
Others music figures feted today include Dennis Burgess, chairman of the Australian Songwriters Association and patron of the Association of Artist Managers, who earns an OAM “for service to the performing arts, and to the music industry”; John Foreman OAM, the musical director, event director, pianist and composer, who now receives an AM; and Max Lambert, the composer and musical director for the 2000 Sydney Olympics, and ARIA Award winner for The Boy From Oz (2000) and Playschool (1998), who receives an AM.
Read the full list here.
Here’s the first change Jon Loba intends to make, in his new position as BMG’s president of frontline recordings in North America: “Immediately ramping up the A&R team in L.A.”
So the Berlin-based music company is hiring? “Yes. Yes!” Loba says, by phone from the Detroit airport, near his home city north of Grand Rapids, Mich. “News at 10.”
Loba, who has spent the past seven years breaking country superstars such as Jelly Roll, Parmalee, Lainey Wilson and Blanco Brown in his role as the company’s Nashville president, will remain in Music City but broaden to other genres and U.S. cities. “BMG wanted to devote more resources to the U.S., and part of that was to focus even further on frontline, looking at the success we’ve had in Nashville,” says Loba, who plans to travel to L.A. every other week and New York sporadically. “The biggest challenge is keeping everyone patient.”
BMG announced the Loba move Thursday morning (Jan. 25) with a concurrent one for Thomas Scherer, who moves from running publishing and recordings in L.A. and New York to head of global recorded catalog. The move effectively puts Loba in charge of new music and Scherer in charge of classics (while still in charge of publishing). BMG’s CEO, Thomas Coesfeld, took over the company last July and, Loba says, has veered away from the company’s April 2023 announcement that it would combine its frontline and catalog divisions.
“[Coesfeld] is incredibly analytical and had a different take on the business,” Loba says, “and felt the catalog business could benefit from even more focus and being separated out a little bit.”
BMG, part of the Bertelsmann publishing empire, was formerly a standalone label, then merged with major label Sony Music Entertainment before a 2007 uncoupling. It has since beefed up as a music company focused on publishing, acquiring or re-signing catalogs by artists from Paul Simon to Tina Turner, and developed a recorded-music division thanks in no small part to its Nashville office. Loba joined the company in 2017 when BMG purchased BBR Music Group — whose roster included stars Jason Aldean and Dustin Lynch — for $100 million.
Bertelsmann, which recently failed to acquire Simon & Schuster, has pledged to invest billions throughout its companies, giving it considerable clout in a music industry dominated by the three major labels and smaller competitors such as Concord and HYBE. The company’s music divisions will be centered in the United States and the United Kingdom, not so much in Bertelsmann’s Berlin home base. “We are in an absolutely beautiful place,” Loba says. “The catalog allows stability and for us to take chances on frontline. We have the resources and reach of the three majors with the heart and tenacity and focus of an indie. There are few companies, if any, that have both.”
When Loba moves into his new position, effective immediately, he’ll begin expanding the label’s ability to discover and sign new artists. “Internally, for sure, there will be resources added. Our immediate focus is getting that world-class A&R team together, while removing, for the rest of the departments and staff, anything that’s not productive, getting rid of bureaucracy if there is any,” Loba says. “It’s just a real watershed moment for BMG. It’s our coming of age.”
Singer 4Batz, whose track “act ii: date @ 8” erupted on social media and streaming services during Christmas week, has sparked a bidding war among several major labels, sources familiar with the negotiations tell Billboard.
Four years ago, it was routine for previously unknown artists with viral singles to score big record deals in a matter of weeks. But that path slowed to a trickle in 2023, and some label executives started to worry about a stagnant climate for new artists.
That helps explain why many A&R executives are now eager to sign 4Batz. One executive calls the singer’s rapid ascent “the most exciting thing to happen in the last six months” in the music industry. Multiple major labels, including Republic Records, Atlantic Records and Warner Records, are in conversations with 4Batz’s team about a potential deal.
While he has released just two songs to date, they are already earning more than 9 million streams a week in the United States between them, according to Luminate. “act ii: date @ 8” leads the way, climbing to No. 76 on the latest Billboard Hot 100 chart. Due to this upward momentum, two sources familiar with the label negotiations say they are all but certain to end in a robust seven-figure deal for 4Batz. When another R&B singer, Muni Long, enjoyed a viral breakout with “Hrs and Hrs” late in 2022, her subsequent record deal came with an advance of around $5 million, according to a source with knowledge of the negotiations.
Legal counsel for 4Batz declined to comment.
In the heady early days of TikTok, it was common for half a dozen major labels to compete over a new act with a hot single. From 2019 through at least the end of 2021, this led to big deals for artists like Lil Tecca, Arizona Zervas, Ant Saunders and more. During that period, “it felt like every single day another artist signed a deal that was a gazillion dollars,” one music attorney told Billboard last year.
But as 2022 bled into 2023, fewer unsigned acts surged into view behind singles that streamed like crazy. Executives worried that virality on short-form video platforms no longer sparked listening the way it once did; sometimes what happened on TikTok stayed on TikTok.
At the same time, many label executives became disillusioned with the viral chase. Due to the intense competition around these deals, they invariably ended up being costly. (Though two of the acts who were able to translate viral energy into noteworthy Hot 100 success in 2023, the rapper Superstar Pride and the singer Oliver Anthony, both ended up remaining independent rather than taking a fat check from a major label.) The high cost of the deal put a lot of pressure on young artists to replicate their initial success quickly — to prove they were worthy of a hefty investment in a bottom-line-focused business. Many of the signings were unable to make the leap from popular song to popular artist.
“We’ve all been burned to a certain degree,” Tab Nkhereanye, a senior vp of A&R at BMG, said last year.
As a result, labels have been more circumspect when it comes to signing artists with viral singles in the last 18 months. They’ve also been trying to connect with more acts earlier in their careers via low-cost distribution deals; that way, they have a pre-existing contractual relationship if one of those signings starts to take off. (“act ii: date @ 8” was released through Vydia, a music tech company which is now part of the Larry Jackson-helmed gamma; this marks another win for Vydia, which also brought in Sexyy Red, one of last year’s few genuine breakouts.)
But 4Batz has shown staying power in recent weeks, spending all of January to date near the top of Spotify’s Global Viral 50. “act ii: date @ 8” is hypnotic and loop-able, with feathery come-ons and a slinky bass vamp; it already cracked the top 10 on the Hot R&B Songs chart, leapfrogging established artists like Brent Faiyaz (a clear influence on 4Batz).
R&B is on the upswing at the moment, which is another factor working in 4Batz’s favor. SZA and Victoria Monet dominated the latest Grammy nominations, with Janelle Monae and Coco Jones also scoring nods in the Big Four categories. In R&B, “it’s highly unusual for an artist to come onto the scene with the numbers and interest from labels” that 4Batz has, an executive says. “Normally an artist has to drop more music to get this level of attention.”
There’s a new front in the long legal war between the family members of late Ramones founders Joey and Johnny Ramone, this time over a planned Netflix movie starring Pete Davidson centered on the pioneering punk band.
In a lawsuit filed Saturday (Jan. 21) in Manhattan court, Johnny’s widow, Linda Ramone, claims that Joey’s brother, Mickey Leigh (Mitchel Hyman) “covertly developed an unapproved and unauthorized Ramones-based biopic” based on his own “one-sided recitation of the history of the Ramones.”
Though the lawsuit doesn’t identify Netflix by name, it says that the disputed movie will be based on Leigh’s memoir, I Slept with Joey Ramone. Netflix’s planned movie, announced in 2021, has the same name; is based on the same book; and is being developed with the “support of the Estate of Joey Ramone.”
Since Linda and Leigh split ownership of the intellectual property for the band — widely regarded as pioneers of punk rock and one of the most influential rock bands of all time — Linda says a movie that will focus heavily on the Ramones as a group cannot go forward without her say-so.
“Ms. Ramone objects to defendants’ attempt to create a Ramones film without her involvement — not to be obstinate, but rather based on defendants’ disregard for [Ramones] assets and their conduct and treatment of Ms. Ramone and her late husband,” Linda’s attorneys write. “To permit defendants alone to tell the authoritative story of the Ramones would be an injustice to the band and its legacy.”
Though the planned movie is one major point of dispute, Linda’s lawsuit also includes a raft of other allegations against Leigh and David Frey, a director of the Ramones’ holding company appointed to his role by Leigh. She says the pair have “effectively shut down the entire company,” unfairly withheld payments to her, and otherwise thrown the company’s operations into chaos.
“It is apparent from defendants’ continuing course of conduct that their main objective is to torment Ms. Ramone until she agrees to sell her interests,” Linda’s lawyers write. “Regrettably, Defendants appear willing to allow the band’s legacy to decay, in order to benefit their own self-interest.”
“They Weren’t Friendly”
Joey (real name Jeffrey Ross Hyman), who served as the band’s lead vocalist from their founding in 1974, died of cancer in 2001. Johnny (real name John William Cummings), the band’s guitarist, died in 2004, also of cancer.
The two punk rockers, who were not actually related, had a notoriously unbrotherly relationship — a rift rooted partly in their differing personalities and political views, but also in the fact that Linda dated Joey before eventually marrying Johnny. The two nonetheless formed a lucrative business partnership, touring heavily for decades until the band finally broke up for good in 1996. But in a 2016 interview with the New York Post, Leigh put it bluntly: “They weren’t friendly.”
In the years since the two bandmates passed away, that feud has seemingly continued between Leigh and Linda.
As the executors of Johnny and Joey’s respective estates, Linda and Leigh each own half of Ramones Productions Inc., an entity that has been described in court filings as “the vehicle through which the iconic punk rock musical group … markets, merchandizes, licenses and produces its memorabilia and musical related products.”
In 2018, Leigh filed a legal action against Linda via private arbitration, alleging that she was improperly using the band’s intellectual property and unfairly associating herself with the “Ramones” name with projects like a “Ramones Ranch” in Los Angeles, violating the agreement that governs how Ramones Productions is run.
In a decision that was later made public in court, an arbitrator partly sided with Leigh, restricting how Linda could use “The Ramones” name, and even requiring her to go by “Linda Cummings-Ramone” in certain situations. But the arbitrator roundly criticized both sides for their ongoing feuding, reminding them that they had an “almost sacred mission to be the caretakers for the band’s creative work.”
“Instead, the parties have allowed their personal egos and their animus for one another to interfere with their joint obligations by failing to communicate, obfuscating information and unreasonably withholding their approvals,” the arbitrator wrote in May 2019.
The admonishment did little good. Last year, the pair headed back to litigation, this time after Linda initiated arbitration proceedings that aimed to remove someone from the board of directors of Ramones Productions. Leigh filed a court case to halt the arbitration, arguing that it was an improper use of that process. That case remains pending.
“A Universal Story of Family”
The latest legal scuffle appears to have been triggered in part by the plans for a movie version of I Slept With Joey Ramone — Leigh’s 2009 memoir billed as “an enduring portrait of a man who struggled to find his voice and of the brother who loved him.” Netflix announced the film in April 2021, with Davidson set to co-write and star as Joey, and Jason Orley (Big Time Adolescence, I Want You Back) signed on to direct.
“’I Slept with Joey Ramone’ is a great rock anthem that will make an equally great rock biopic, set apart by a universal story of family,” Adam Fogelson, chairman of the company spearheading the film, said in Netflix’s press release announcing the project.
Netflix said that the movie, which remains in early-stage “development” in 2024, would be produced with “the cooperation and support of the Estate of Joey Ramone.” But in her new lawsuit this week, Linda says that such a project needs the sign-off of Ramones Productions, not just Joey’s estate.
“As 50% shareholder of RPI, Ms. Ramone would never have consented to defendants’ unilateral development of a Ramones biopic,” her lawyers wrote. “Nor would she (then or at any point in the future) agree to permit the inclusion of any RPI intellectual property or recordings in such a film project.”
According to Linda’s attorneys, Leigh and Frey have told others that they plan to “circumvent” any objections she has to the movie, including by potentially re-recording Ramones songs that could be used in the film. And once they do so, she says they will unfairly get to tell the “authoritative story” of the iconic band.
“There will likely not be an appetite for a subsequent Ramones film, thus destroying the single most lucrative and substantial corporate opportunity of the company and usurping it as defendants’ own,” Linda wrote.
Netflix is not named in the lawsuit and is not accused of any wrongdoing. The company did not return a request for comment on the new lawsuit.
Life Rights? Or Free Speech Rights?
Legally speaking, whether a movie producer would need one band member to sign off on a movie about one of his famous bandmates is a tricky question. Would John Lennon’s estate need to sign off on a Paul McCartney movie? Could Dave Grohl stop a Kurt Cobain biopic?
While many risk-averse filmmakers and studios secure “life rights” before they make such movies — essentially a guarantee that the production will not be hamstrung by litigation over likeness rights or defamation allegations — they’re not strictly necessary. The First Amendment largely protects the right to make movies based on real historical figures, whether they want their story told or not.
“Life rights are an agreement for access and a promise not to sue, but there’s no intellectual property attached to our life story itself,” says Lisa Callif, an attorney at the firm Donaldson Callif Perez who specializes in rights clearance for films and TV. “We all have a First Amendment right to tell a story. A story about a band is just comprised of facts, even if they’re really interesting facts.”
But in practical terms, a movie about a famous band raises a unique problem: It effectively needs to use that band’s copyrighted music. Can you imagine watching Walk The Line without hearing Johnny Cash songs, or Straight Outta Compton without any N.W.A tracks? In the context of a musical biopic, that gives someone like Linda, with her veto power over the band’s music, more leverage to demand involvement.
“It gets stickier with rights to music,” Callif said. “Even if you can tell the story, you’re not going to be able to license any of the music.”
The other layer to the current dispute is contractual. Linda’s lawsuit points to a legal settlement from 2009 in which both she and Leigh allegedly agreed that any “separate or individual projects” involving Ramones intellectual property would “require the prior written approval” of the company and its owners. Even if a studio has the right to tell any historical story it wants, a party to a contract could be barred from signing certain deals.
“Intransigence and Harmful Actions”
Beyond the dispute over the film, Linda’s new lawsuit includes a slew of other accusations about Leigh, echoing the strongly worded tone of their previous legal battles.
Linda says Leigh and Frey have “refused to engage with the Ramones’ record label, its social media creative agency, its merchandising partners, or its long-term business managers”; that they “regularly create internecine disputes and unnecessary work that drains the company of funds”; that they have “prevented the company from conducting basic operational tasks”; and have “baselessly and in bad faith” withheld dividend payments from her, “effectively holding Ms. Ramone’s money hostage” unless she agrees with their initiatives.
“After exhausting every resource at her disposal to try to right the ship … Linda Ramone reluctantly brings this action as a last resort,” Linda’s lawyers write. “Simply put, RPI, as currently constituted, is not working due to the intransigence and harmful actions undertaken by [Frey and Leigh].”
Ultimately, Linda claims that the only possible solution to the years-long dispute is to remove Frey from the company and appoint a court-order receiver to take charge of it: “Mr. Frey’s continued involvement and obfuscation remains a significant hurdle toward resolving even the most straightforward of operational issues.”
In technical terms, the lawsuit accuses Frey and Leigh of breaching their fiduciary duty to the company and of unjust enrichment. It demands that the court order Frey’s removal as director of the company, and requests the appointment of a receiver.
An attorney for Leigh declined to comment on the lawsuit’s allegations. An attorney for Frey did not immediately return requests for comment.
“Ramones Fans Want A Ramones Movie”
In some ways, the current dispute over the Joey biopic was predicted by that 2019 arbitration ruling which detailed the long struggle between Linda and Leigh.
In it, the arbitrator went to great lengths to plead with Linda and Leigh to put aside their differences. He warned them that their “time-consuming and costly” legal battles had caused the Ramones brand to experience “tepid growth.”
“Mickey Hyman and Linda Cummings-Ramone have been entrusted with the exceedingly important mission of preserving the legacy of the Ramones for its existing followers, and to grow this iconic brand to a new world-wide group of music fans,” the arbitrator wrote at the time “The only way those goals can be accomplished, in my estimation, is for there to be some radical changes made by Mickey, Linda, and their representatives.”
If those changes could be made, the arbitrator identified one key area for future growth: A movie. He cited the then-recent success of the movie Bohemian Rhapsody, which he said had boosted Queen to “its highest chart position in 38 years” and “demonstrates the power that a biopic can have on improving the stature of a rock band.” That movie eventually earned more than $900 million.
“In my estimation, Ramones fans want a Ramones movie,” the arbitrator wrote at the time. “To make that happen, each side will need to put on hold their individual desires to make a Mickey movie or a Linda movie and join together to authorize a great biopic to be made about this historically important band.”
Lyor Cohen’s first encounter with Google’s generative artificial intelligence left him gobsmacked. “Demis [Hassabis, CEO of Google Deepmind] and his team presented a research project around genAI and music and my head came off of my shoulders,” Cohen, global head of music for Google and YouTube, told Billboard in November. “I walked around London for two days excited about the possibilities, thinking about all the issues and recognizing that genAI in music is here — it’s not around the corner.”
While some of the major labels are touting YouTube as an important partner in the evolving world of music and AI, not everyone in the music industry has been as enthusiastic about these new efforts. That’s because Google trained its model on a large set of music — including copyrighted major-label recordings — and then went to show it to rights holders, rather than asking permission first, according to four sources with knowledge of the search giant’s push into generative AI and music. That could mean artists “opting out” of such AI training — a key condition for many rights holders — is not an option.
YouTube did make sure to sign one-off licenses with some parties before rolling out a beta version of its new genAI “experiment” in November. Dream Track, the only AI product it has released publicly so far, allows select YouTube creators to soundtrack clips on Shorts with pieces of music, based on text prompts, that can include replicas of famous artists’ voices. (A handful of major-label acts participated, including Demi Lovato and Charli XCX.) “Our superpower was our deep collaboration with the music industry,” Cohen said at the time. But negotiations that many in the business see as precedent-setting for broader, labelwide licensing deals have dragged on for months.
Negotiating with a company as massive as YouTube was made harder because it had already taken what it wanted, according to multiple sources familiar with the company’s label talks. Meanwhile, other AI companies continue to move ahead with their own music products, adding pressure on YouTube to keep progressing its technology.
In a statement, a YouTube representative said, “We remain committed to working collaboratively with our partners across the music industry to develop AI responsibly and in a way that rewards participants with long-term opportunities for monetization, controls and attribution for potential genAI tools and content down the road,” declining to get specific about licenses.
GenAI models require training before they can start generating properly. “AI training is a computational process of deconstructing existing works for the purpose of modeling mathematically how [they] work,” Google explained in comments to the U.S. Copyright Office in October. “By taking existing works apart, the algorithm develops a capacity to infer how new ones should be put together.”
Whether a company needs permission before undertaking this process on copyrighted works is already the subject of several lawsuits, including Getty Images v. Stability AI and the Authors Guild v. OpenAI. In October, Universal Music Group (UMG) was among the companies that sued AI startup Anthropic, alleging that “in the process of building and operating AI models, [the company] unlawfully copies and disseminates vast amounts of copyrighted works.”
As these cases proceed, they are expected to set precedent for AI training — but that could take years. In the meantime, many technology companies seem set on adhering to the Silicon Valley rallying call of “move fast and break things.”
While rights holders decry what they call copyright infringement, tech companies argue their activities fall under “fair use” — the U.S. legal doctrine that allows for the unlicensed use of copyrighted works in certain situations. News reporting and criticism are the most common examples, but recording a TV show to watch later, parody and other uses are also covered.
“A diverse array of cases supports the proposition that copying of a copyrighted work as an intermediate step to create a noninfringing output can constitute fair use,” Anthropic wrote in its own comments to the U.S. Copyright Office. “Innovation in AI fundamentally depends on the ability of [large language models] to learn in the computational sense from the widest possible variety of publicly available material,” Google said in its comments.
“When you think of generative AI, you mostly think of the companies taking that very modern approach — Google, OpenAI — with state-of-the-art models that need a lot of data,” says Ed Newton-Rex, who resigned as Stability AI’s vp of audio in November because the company was training on copyrighted works. “In that community, where you need a huge amount of data, you don’t see many people talking about the concerns of rights holders.”
When Dennis Kooker, president of global digital business and U.S. sales for Sony Music Entertainment, spoke at a Senate forum on AI in November, he rejected the fair use argument. “If a generative AI model is trained on music for the purpose of creating new musical works that compete in the music market, then the training is not a fair use,” Kooker said. “Training in that case, cannot be without consent, credit and compensation to the artists and rights holders.”
UMG and other music companies took a similar stance in their lawsuit against Anthropic, warning that AI firms should not be “excused from complying with copyright law” simply because they claim they’ll “facilitate immense value to society.”
“Undisputedly, Anthropic will be a more valuable company if it can avoid paying for the content on which it admittedly relies,” UMG wrote at the time. “But that should hardly compel the court to provide it a get-out-of-jail-free card for its wholesale theft of copyrighted content.”
In this climate, bringing the major labels on board as Google and YouTube did last year with Dream Track — after training the model, but before releasing it — may well be a step forward from the music industry’s perspective. At least it’s better than nothing: Google infamously started scanning massive numbers of books in 2004 without asking permission from copyright holders to create what is now known as Google Books. The Authors Guild sued, accusing Google of violating copyright, but the suit was eventually dismissed — almost a decade later in 2013.
While AI-related bills supported by the music business have already been proposed in Congress, for now the two sides are shouting past each other. Newton-Rex summarized the different mindsets succinctly: “What we in the AI world think of as ‘training data’ is what the rest of the world has thought of for a long time as creative output.”
Additional reporting by Bill Donahue.
Todd Moscowitz‘s Santa Anna Label Group has invested in and partnered with OVO Sound, the Canadian record label founded in 2012 by Drake, Noah “40” Shehib and Oliver El-Khatib. Under the deal, Santa Anna will distribute and market OVO Sound releases while providing additional A&R support, production, finance and accounting, artist and label services, and more. OVO Sound’s current roster includes PARTYNEXTDOOR (slated to release his new album, P4, in the first quarter of 2024), Majid Jordan, Naomi Sharon, Roy Woody, Smiley, Popcaan and Drake collaborations with artists including Bad Bunny, Central Cee, Blocboy JB and Dave. OVO will remain a standalone record label as part of the agreement.
Warner Music Group (WMG) has partnered with Pakistani music and audio production company Giraffe, which was co-founded by artist Xulfi (rela name Zulfiqar Jabbar Khan) and CEO Muhammad Ibrahim. The deal, which allows WMG to establish a new A&R source in Pakistan, will kick off with Coke Studio Season 15. In addition to Coke Studio, Giraffe has produced some of the most popular music shows in South Asia, including Drummers of Pakistan, Nescafé Basement and Red Bull Music Sound Clash. “Pakistan has a rich music scene that offers huge opportunities for a global music company,” said Alfonso Perez Soto, president of emerging markets at WMG, in a statement. “Through the powerhouse that is Coke Studio, Xulfi and Ibrahim have proven to be phenomenal A&Rs that will be invaluable in Warner Music’s growth in the region. Together, we will discover and develop artists that have the potential to connect with fans all around the world.”
PPL, which licenses the use of recorded music for public performance and broadcast in the United Kingdom and collects neighboring rights royalties for performers and recording rightsholders globally, has signed a deal with the Indian Singers’ and Musicians’ Rights Association (ISAMRA). Under the deal, PPL will now collect royalties on behalf of mandated performers in India, while Indian performers will also receive payment for the use of their recorded music in the United Kingdom.
Kids’ music brand KIDZ BOP and Live Nation extended their partnership via a new three-year North American tour deal. KIDZ BOP is currently ramping up for its KIDZ BOP LIVE 2024 tour, which is slated to kick off June 27 in Stamford, Connecticut.
France-based streaming service Deezer has renewed its longstanding partnership with TIM, the largest mobile carrier in Brazil. Under the agreement, TIM customers will continue to receive access to Deezer.
Uber has taken naming rights for two AEG venues in Berlin: Uber Arena (formerly Mercedes-Benz Arena) and Uber Eats Music Hall (formerly Verti Music Hall). It also has naming rights to an adjacent complex encompassing a movie theater, restaurants and bowling alley that will now be known as Uber Platz (formerly Mercedes Platz). AEG’s partnership with Mercedes-Benz will continue, with the brand remaining a partner of the Uber Arena in a more general role.
Lyric licensing and data solutions company LyricFind and business-to-business music and streaming technology platform Tuned Global have signed a partnership that will allow Tuned Global clients to enroll with LyricFind to unlock lyric-based tools through APIs or turnkey apps. These tools include the ability to display lyrics in multiple languages; use lyrics to search catalogs to create thematic playlists or other content; and utilize LyricIQ, a content analysis engine that allows curators to filter lyrics and tracks by mood, subject matter and age appropriateness.
AI-powered marketing operating system SymphonyOS has partnered with CD Baby in a deal that will enable CD Baby artists to access SymphonyOS tools. Those tools include Forever Saves, which allows fans to subscribe to a creator’s releases, meaning all new music from the creator is automatically added to fans’ music libraries on release; and discounted access to SymphonyOS Pro via CD Baby’s tools & promotions page.
Music venue and hospitality company Notes Live has selected Live Nation as the operator of its Sunset Amphitheater, a new 12,500-capacity venue set to open in Broken Arrow, Okla., through a public-private partnership. The amphitheater is slated to open in summer 2025.
Latin American media solutions company US Media has signed an advertising sales partnership with Vevo. Under the deal, US Media will become the Latin American sales representative for Vevo’s ad inventory in Mexico, Brazil, Argentina, Colombia, Chile and Peru. US Media will sell on Vevo’s behalf pan-regionally from Miami.
Barbadian copyright collective membership organization COSCAP (Copyright Society of Composers, Authors and Publishers) has signed a partnership deal with CMRRA (The Canadian Musical Reproductin Rights Agency) and SX Works Global Publisher Services, which are both SoundExchange companies. Under the agreement, CMRRA will oversee the mechanical reproduction rights of COSCAP members across the Canadian marketplace, while SX Works Global Publisher Services will help manage the end-to-end administration on behalf of COSCAP members with the Mechanical Licensing Collective (the MLC) in the United States.
London-based Web3 music startup TRAX, described as a content aggregator and social marketplace helping artists build a digital space for superfans, raised a $2.9 million decentralized funding round on the Internet Computer ($ICP) blockchain. Following the investment, TRAX will operate as a decentralized autonomous organization (DAO) democratically controlled by holders of TRAX’s new governance token, $TRAX. The funds will be held in TRAX DAO’s treasury, which will allow $TRAX holders to decide how best to use them.
Rostrum Records has acquired distribution company and retail brand, Fat Beats.
The acquisition, announced today (Jan. 25), will give Rostrum artists direct backing from Fat Beats’ wholesale distribution, e-commerce support, and direct-to-consumer fulfillment with an open line to brick-and-mortar stores. In return, Fat Beats will join the Rostrum Pacific umbrella — Rostrum’s entertainment company — and continue to operate as their own entity with access to Rostrum’s various vehicles, including sister companies Spaceheater, Rostrum Pacific’s catalog marketing arm, and Rostrum Records.
“Fat Beats is a legendary brand that I’ve been a fan of for decades. From Rostrum Records to our most recent expansion of Rostrum Pacific, we’ve diligently outlined the next 20 years of our company. One of our goals has been to get vertically involved with physical distribution, and Fat Beats is a key part of that strategy,” Benjy Grinberg, Rostrum Pacific’s CEO and founder, tells Billboard. “Together, we can offer a level of professionalism, strategy, and forward-thinking that most physical companies lack. The ability to acquire Fat Beats and help it grow to new heights is incredibly exciting for us.”
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“As a pillar of the independent Hip-Hop community since 1994, it was important to me to ensure what we’ve built over the last 30 years is well cared for and respected,” adds Joe Abajian, founder of Fat Beats. “We have found the perfect custodians in Benjy and the Rostrum Pacific team, and we’re confident that Fat Beats now has the expertise and resources to continue growing well into the future.”
Along with acquiring Fat Beats, Rostrum announced that it would hire Kevin Engler as general manager of Fat Beats and Bobby Israeli as Rostrum Pacific’s head of e-commerce. For almost 20 years, Engler previously worked at UMG and was most recently vice president of Commercial Strategy at Ingrooves, a division of UMG, while Bobby Israeli will join Rostrum Pacific after leading the e-commerce teams and strategy for UMG’s East Coast labels, including Def Jam Records, Island Records, and Verve Music Group. Both will report directly to Rostrum Pacific COO Jonathan Partch.
Luana Pagani, one of Latin music’s most respected female executives, is launching her own company following a 12-year run with Latin entertainment powerhouse SeitrackUS.
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The new venture, called Fairwinds, will focus on the development of new and established artists in the U.S. and international markets, with Pagani using her expertise in marketing, promotion and management.
“After 12 amazing years of partnership with Seitrack in the U.S. where we established a profitable operation in the market, and I had the chance to grow professionally and work with people that I love and respect, I have decided to move on and start my own agency, remaining as an outside consultant for SeitrackUS,” Pagani tells Billboard.
This is not the first time Pagani branches out on her own. The multi-lingual exec for years was the senior vp of global marketing, Latin, for Sony and a central figure in the development of superstars like Shakira, Ricky Martin and Chayanne, at the height of the first “Latin explosion” of the late 1990s and early 2000s.
Then, in 2007, when she was the most senior-ranking woman in a major Latin label, she left Sony to launch her own consultancy firm. She eventually partnered with SeitrackUS, which is part of giant OCESA Seitrack, and took the role of president here in the U.S., working with artists like Ha*Ash, Los Angeles Azules and Alejandro Fernández in their management, booking and overall development.
Although Pagani will continue to work as an outside consultant for Seitrack, she will also have other artists and companies as clients.
“Artist development is, and has always been my passion,” says Pagani. “At a time when there are so many possibilities to reach new audiences, it is a privilege to be able to work with dynamic artists who are redefining the musical scene. I thank Ocesa-Seitrack and its people for this wonderful ride and look forward to continuing working with everyone in this great industry, most of you my friends.”