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Crypto.com Arena in Los Angeles is pilot testing a new waste diversion initiative at the arena’s upcoming two-night run for Depeche Mode on Dec. 15 and 17.
The program, held in conjunction with reusable cup manufacturer r.World, could help divert hundreds of thousands of single-use cups out of local landfills and eventually serve as a staple sustainability initiative at the AEG-owned facility, which is widely recognized as a leader in the live entertainment business’ efforts toward long-term sustainability.
As part of the program, Crypto.com Arena and its janitorial servicer, ABM, will work with r.World to receive and distribute 13,000 beer, cocktail and soft drink cups around the arena. On the nights of the Depeche Mode performances, the cups will be utilized by the arena’s bar, beverage and concessionaires to serve drinks to attendees, who will then dispose of the cups in specially marked bins staged around the arena. At the end of the first show, the cups will be collected by r.World staff and taken to a nearby cleaning facility where they will be washed and returned to the arena for the second night. Both shows are being promoted by Live Nation.
The program, explains Crypto.com Arena president Lee Zeidman, was inspired by Depeche Mode’s long-running commitment to environmental and sustainability initiatives. “Commencing with the electrifying Depeche Mode concerts, our aim is to ignite a wave of positive change and rally our audience and partners to actively participate in shaping a more eco-conscious future,” he tells Billboard.
Last year, a similar pilot program was launched by AEG-owned Goldenvoice with r.World to eliminate plastic cups from its Cali Vibes festival in Long Beach, Calif. Following the pilot, Crypto.com Arena will evaluate the data from the two concerts and, if the program is successful, will look to collaborate with current or future partners to make r.World a full-time option to guests and fans in the future.
“We believe that there’s going to be less labor needed in terms of cleanup and the cleanup crew, and we believe we’re going to have lower waste disposal fees,” Zeidman says. “We also believe that people will embrace this opportunity to keep single plastic waste out of the stream and perhaps buy more beers or Cokes.”
In addition to Los Angeles, r.World boasts industrial “Wash Hub” facilities that also service Denver, Las Vegas, Minneapolis, San Francisco, Seattle and Washington, D.C. To meet market demand for reuse, the company plans to expand the program to eight to 12 more cities in the next 24 months.
“We’re excited to work with Crypto.com Arena — as one of the busiest venues in the world, the positive environmental impact potential of reuse is massive,” said Michael Martin, r.World founder/CEO. “They’ve led the industry and operated in the most environmentally innovative ways since opening in 1999, and so it’s no surprise they’re launching the pilot reuse program in the LA market and ultimately, driving change across the live events industry.”
Hidden behind a white sheet and sunglasses, an anonymous music-maker called Ghostwriter logged on to TikTok in April to post his first video. In it, he announced his debut single, “Heart on My Sleeve” — and signaled a seismic shift in the music business. Using an artificial intelligence voice filter that disguised Ghostwriter’s own timbre behind that of Drake and The Weeknd, “Heart on My Sleeve” was the first song to show just how far AI music had come already and what novel challenges and opportunities it would present to artists.
The song also proved that artists would struggle to control how their voice and likeness are used in the age of AI — even superstars like Drake and The Weeknd who have the resources to fight back. Universal Music Group (UMG) issued a strongly worded statement soon after the song’s posting, condemning “infringing content created with generative AI,” and the song was quickly taken down from most platforms. But fans continued to post it to TikTok and YouTube every time it was removed. As Ghostwriter later put it in his Billboard cover story: “The genie can’t be put back in the bottle.”
“Heart on My Sleeve” forced the industry to reckon with the limitations of existing “right of publicity” laws that protect artists from having their voices and likenesses commercially exploited without their authorization. The strength of this right varies from state to state, and at the time the song was released, there wasn’t a precedent for issuing takedown notices for these types of violations, like there is for copyright infringement claims.
Likely as a result of the song and other AI concerns, UMG general counsel/executive vp of business and legal affairs Jeffrey Harleston went to Capitol Hill to talk to the Senate Judiciary Committee in July, asking for a “federal right of publicity” to be created to help protect artists. Streaming services also voluntarily entered talks with the major labels to form a system so that labels can request takedowns for right of publicity concerns.
Still, some artists consider Ghostwriter to be a revolutionary. Artist-producer Grimes took to X (formerly Twitter) after the release of “Heart on My Sleeve” to write, “I think it’s cool to be fused w a machine, and I like the idea of open sourcing all art.” Shortly after, she launched GrimesAI, a voice model trained on her recordings that lets fans shape-shift their voice into hers at the click of a button. She also collaborated with TuneCore to allow fans to distribute their resulting songs to streaming services under the tag “GrimesAI” to distinguish it from her own catalog.
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YouTube recently built on this same idea with the experimental program Dream Track. It lets fans use voice models of Charlie Puth, John Legend, Sia, T-Pain, Demi Lovato, Troye Sivan, Charli XCX, Alec Benjamin and Papoose with the approval of partners UMG and Warner Music Group (WMG).
Songwriters and publishers have also started using AI voice technology. This summer, Billboard reported that AI voice models were used to help writers pitch song ideas to artists. The AI-altered pitch records had been used as an internal reference for the writers to gauge if the track sounded appropriate for a particular singer while composing, and sometimes the records with the AI voice applied were also sent to the artist’s team in hopes that they would increase their chance of landing the song.
In a recent interview with Billboard, pop artist Lauv said he has seen that usage firsthand with one of his songwriter friends who was pitching a track to Nicki Minaj using AI. Lauv himself is also leaning into the new technology: In November, he partnered with AI voice startup Hooky — one of many startups in the space — to translate his new single, “Love U Like That,” into Korean. After getting Korean American songwriter Kevin Woo to translate the lyrics and sing a Korean version, Hooky applied Lauv’s AI voice model to map Lauv’s signature sound over Woo’s.
Ghostwriter’s manager previously said he also believes that artist estates and catalog owners could use AI voice models to market their music. WMG is now experimenting with the catalog of late French singer Édith Piaf. The company is creating AI models to resurrect her voice and likeness for a controversial new biopic called EDITH to “further enhance the authenticity and emotional impact of the story,” according to a press release.
“Heart on My Sleeve” represents just one of many burgeoning areas of AI that can transform the music business in the future. Concurrently, as startups like Kits.AI, mayk.it, Hooky, Voice-Swap, Supertone and Lingyin Engine hope to capture the AI voice model market, AI-generated beats and loops promise to upend production music libraries and the overall creation process. AI “functional music,” soundscapes designed to fit user needs for sleep, focus or relaxation, also promise an evolution in wellness and ambient music. And as AI stem separation unlocks possibilities for remixing, synch licensing and restoring old audio files (the new Beatles song, “Now and Then,” used the technology to restore John Lennon vocal recordings), there are surely even more use cases for AI that are yet to be discovered.
While legal and logistical questions remain with the technology, Ghostwriter’s team is pressing on. He has teased a second single (“Whiplash” featuring the AI voices of Travis Scott and 21 Savage) while expressing his desire to collaborate with other artists. As such, Ghostwriter’s manager believes it is of the utmost importance for the music business to band together to “define an equitable arrangement for all stakeholders” when using AI. As he previously told Billboard, “We had an opportunity [with “Heart on My Sleeve”] to show people the value in AI and music … I like to say that everything starts somewhere.”
This story originally appeared in the Dec. 9, 2023, issue of Billboard.
Joaquina has signed a management deal with Global Talent Services (GTS), Billboard can exclusively announce today (Dec. 11). The new partnership will strengthen the Venezuelan singer-songwriter’s growth and amplify her artistic potential, and she will be overseen by manager Paula Kaminsky and co-manager Camila Canabal.
“I’m very grateful to count on a team that believes in me and my project, but most importantly, for believing in my songs and what I have to say in them,” the 19-year-old newcomer (born Joaquina Blavia Canabal) said in a press statement. “I’m very excited for this next stage of my career.”
Kaminsky added: “We are very happy and grateful that Joaquina, who is a talented singer-songwriter and performer and someone who holistically embodies the feelings of her generation, has placed her trust in GTS to further develop her career, and together, guide her in achieving her dreams of taking her art to the whole world.”
The exclusive news comes on the heels of Joaquina winning the coveted best new artist award at the 2023 Latin Grammys in Seville, Spain, where she was also nominated for best singer-songwriter album for her debut EP, Los Mejores Años.
Joaquina poses with the award for Best New Artist in the media center for The 24th Annual Latin Grammy Awards at FIBES Conference and Exhibition Centre on Nov. 16, 2023 in Seville, Spain.
Niccolo Guasti/Getty Images
Born in Caracas but raised in Miami, the well-rounded rising star—who took music, theater, and ballet lessons—is inspired by artists such as Avril Lavigne, and pens songs about teenage angst as heard in her notable track “Los Mejores Años.”
“Although I am very extroverted and I love to socialize, I am also very private and it’s difficult for me to talk about my fears, my thoughts, and ‘Los Mejores Años’ was a big relief song for me,” she previously told Billboard. “It helped me a lot to understand many things I was feeling in a time of normal transition in everyone’s life. It’s a bit that concept of feeling the fear of growing up for the first time in your life.”
Before winning best new artist, Joaquina formed part of the first class of graduates from producer Julio Reyes Copello’s Art House Academy, signed a record deal with Universal Music Latin, and was the opening act for artists such as Alejandro Sanz and Fonseca. She was also spotlighted as Billboard’s Latin Artist on the Rise in November.
Legislators have provisionally agreed to sweeping new laws that will regulate the use of artificial intelligence (AI) in Europe, including controls around the use of copyrighted music.
The deal between policy makers from the European Union Parliament, Council and European Commission on the EU’s Artificial Intelligence Act was reached late on Friday night in Brussels local time following months of negotiations and amid fierce lobbying from the music and tech industries.
The draft legislation is the world’s first comprehensive set of laws regulating the use of AI and places a number of legal obligations on technology companies and AI developers, including those working in the creative sector and music business.
The precise technical details of those measures are still being finalized by EU policy makers, but earlier versions of the bill decreed that companies using generative or foundation AI models like OpenAI’s ChatGPT or Anthropic’s Claude 2 would be required to provide summaries of any copyrighted works, including music, that they use to train their systems.
The AI Act will also force developers to clearly identify content that is created by AI, as opposed to human works before they are placed in the market. In addition, tech companies will have to ensure that their systems are designed in such a way that prevents them from generating illegal content.
Large tech companies who break the rules – which govern all applications and uses of AI inside the 27 member block of EU countries — will face fines of up to €35 million or 7% of global annual turnover. Start-up businesses or smaller tech operations will receive proportionate financial punishments, said the European Commission.
Governance will be carried out by national authorities, while a new European AI Office will be created to supervise the enforcement of the new rules on general purpose AI models.
President of the European Commission Ursula von der Leyen called the agreement “a historic moment” that “will make a substantial contribution to the development of global rules and principles for human-centric AI.”
Responding to the announcement, Tobias Holzmüller, CEO of German collecting society GEMA, said the deal reached by the European government was a welcome “step in the right direction” but cautioned that its rules and provisions “need to be sharpened further on a technical level.”
“The outcome must be a clearly formulated transparency regime that obliges AI providers to submit detailed evidence on the contents they used to train their systems,” said Holzmüller.
Representatives of the technology industry, which had lobbied to weaken the AI Act’s transparency provisions, criticized the deal and warned that it was likely to put European AI developers at a competitive disadvantage.
Daniel Friedlaender, Senior Vice President of the Computer and Communications Industry Association (CCIA), which counts Alphabet, Apple, Amazon and Meta among its members, said in a statement that “crucial details” of the AI act are still missing “with potentially disastrous consequences for the European economy.”
“The final AI Act lacks the vision and ambition that European tech startups and businesses are displaying right now,” said CCIA Europe’s Policy Manager, Boniface de Champris. He warned that, if passed, the legislation might “end up chasing away the European champions that the EU so desperately wants to empower.”
Now that an political agreement has been reached on the AI Act, legislators will spend the coming weeks finalizing the exact technical details of the regulation and translating its terms for the 27 EU member countries.
The final text then needs to be approved by the European Council and Parliament, with a decisive vote not excepted to take place until early next year, possibly as late as March. If passed, the act will be applicable two years after its entry into force, except for some specific provisions: bans will apply after six months while the rules on generative AI models will begin after 12 months.
In a statement, international recorded music trade organization IFPI said the first-of-its-kind legislation provides “a constructive and encouraging framework” for regulation of the nascent technology.
“AI offers creators both opportunities and risks,” said an IFPI spokesperson, “and we believe there is a path to a mutually successful outcome for both the creative and technology communities.”
Hipgnosis Songs Fund has found a buyer for a batch of “non-core songs” that have been up for sale since earlier this fall. In a filing Monday with the London Stock Exchange, where it is listed, HSF announced the sale of 20,000 tracks for $23.1 million, which it said reflects a 14.2% discount on the songs’ valuation as of late September.
The company said the sale of the songs, acquired in 2020 from Kobalt, is expected to net $22.6 million, which will be used to pay down a revolving credit facility and provide “greater headroom under its future covenant compliance reporting.” The buyer or buyers were not disclosed. The sale price represents a multiple of 9.6x net publisher share, according to a statement, and makes up approximately 1% of HSF’s investment portfolio value.
The specifics of these “non-core” songs have also not been disclosed. When the proposed sale was announced in September, the company’s board said the songs “require ongoing accounting and reporting obligations that take up significant bandwidth which can be better focused on active song management.”
Hipgnosis is comprised of three companies: Hipgnosis Song Management, Hipgnosis Songs Capital and Hipgnosis Songs Fund. The latter of the three has been mired in controversy in recent months after it was announced that the London-listed trust would not pay its investors a dividend because of new, lower projections for revenue.
On Oct. 26, investors of the fund overwhelmingly demanded structural changes to the music rights company, with more than 80% of Hipgnosis investors voting in favor of the board drawing up “proposals for the reconstruction, reorganization or winding-up of the company to shareholders for their approval within six months.”
Last month the company announced that the fund will not declare dividends before the new fiscal year, which begins next April, in order to ensure it has enough on its balance sheet to pay contractually-mandated catalog bonuses.
In its latest filing announcing the sale of unspecified songs, HSF also said it had appointed Singer Capital Markets as sole corporate broker and financial adviser, and Shot Tower Capital as lead adviser of the company’s strategic review.
Physical and digital media archiving service Iron Mountain Entertainment Services has agreed to fund full-ride scholarships for four students at Inglewood, Calif.-based music education institution 1500 Sound Academy, the organizations tell Billboard.
1500 Sound Academy offers instruction in current and emerging business practices in the music industry via a team that includes Grammy-winning singer-songwriter James Fauntleroy, Grammy-winning producer Larrance “Rance” Dopson and entrepreneur and executive Twila True. The scholarships will be available to prospective students who wish to enroll in one of three 1500 Sound Academy programs: music & industry fundamentals, DJ fundamentals and vocal performance & production fundamentals. Those awarded the scholarships will take part in in-person lectures and labs focused on music production, engineering, songwriting, mixing, music business, DJ fundamentals, vocal performance, vocal production and more.
Students who receive the scholarships will also be instructed in the basics of archiving and restoration through Iron Mountain’s “Smart Vault” digital media preservation solution as well as on-the-ground training at Iron Mountain’s digital studio and vaults.
To be eligible for the scholarships, applicants must meet the enrollment requirements and not have previously attended any course or program at 1500 Sound Academy.
“We look forward to our partnership with Iron Mountain Entertainment Services by offering four fortunate students the opportunity to learn the fundamentals in this industry through one of our programs,” said Fauntleroy in a statement. “With IMES’ global resources in the film, music, broadcast, and sports industries, we’re encouraging new talent to emerge in the field and seeking to help a new generation of music professionals obtain a launching pad into the industry.”
“The 1500 Sound Academy is leading the way for the next wave of leaders in the business of music,” added Lance Podell, senior vp/GM of Iron Mountain Entertainment Services. “We are honored to partner with them and fund student scholarships, as well as provide our Smart Vault solution to all of the students and faculty. Too often we hear about lost lyrics, songs or assets. Our support will provide the solution and training to help a new generation of creators in the discipline of archival preservation, which is a critical but often overlooked aspect of building a music career.”
The application process for the scholarships opens on Tuesday (Dec. 12). Winners will be announced on Dec. 29 or Jan. 5. More details on the submission and application process can be found here.
Ariana Grande has a new manager in Brandon Creed. The superstar has signed with his newly-launched Good World Management firm, sources tell Billboard.
Grande made major headlines in August when she split with longtime manager Scooter Braun‘s SB Projects. Grande had been with the company since 2013, the year she released her breakthrough debut album, Yours Truly.
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“[Ariana] likes that he understands her on a different level and between acting and music, she has a lot coming up and is excited to have found a new support system to help her execute her plans,” says a source close to the situation.
“She wants the focus to be her art and he puts her artistry and vision before anything else,” adds another source. “He is the perfect person to help her execute her visions for this next chapter of her life and career.”
In 2017, Creed — a longtime manager whose previous clients have included Bruno Mars and Lizzo — merged his own The Creed Company with Irving and Jeffrey Azoff‘s firm to form Full Stop Management. He split with the Azoffs in July, announcing the launch of Good World Management, bringing his clients Mark Ronson, Troye Sivan and Charli XCX along with him. Grande marks his third major signing since then.
In early August, Creed and Lydia Asrat announced they had signed Normani to a co-management deal through Good World and Asrat’s Q10. Then, in September, he signed Demi Lovato — another former Braun client.
Grande has had eight charting albums on the Billboard 200, six of them hit the top 10, with five topping the list. Her last release, Positions, debuted atop the chart in 2020 and spent two weeks at No. 1.On the Hot 100, she’s logged 73 entries — including 20 top 10s, seven of which hit No. 1. She most recently led the tally with her remix collab on “Die for You” with The Weeknd in March 2023.
Across her catalog of songs, she’s generated 23.5 billion on-demand official streams in the U.S., according to Luminate. Her albums have earned 22.4 million equivalent album units in the U.S, of which traditional album sales equal 3.3 million.
Grande recently teased her forthcoming seventh studio album with a series of photos posted to Instagram back in the studio. Artists including Selena Gomez, Billie Eilish and SZA expressed excitement in the comments for the pop star’s anticipated return.
On Saturday (Dec. 9), Grande performed “Oh Santa!” alongside Mariah Carey in New York. Next year, she will star as Glinda alongside Cynthia Erivo in the long-awaited Wicked film.
When Travis Scott performed a virtual concert inside the battle royale game Fortnite in April 2020, it drew 12.3 million concurrent players at its peak — the largest in-game gathering in Fortnite history. But despite this pull, “music has always been a little bit of a one-off” for us, says Nate Nanzer, vp of partnerships for Epic Games, the company behind Fortnite.
“We’ve done a concert here, and then a year-and-a-half later there’s another one. We haven’t had a persistent space to celebrate music before.”
This changed Saturday (Dec. 8), as the company rolled out Fortnite Festival, a music-focused game made in collaboration with Harmonix, the developer behind titles like Rock Band and Guitar Hero. Players can create a band with friends — or forge ahead solo — and perform hits on a variety of virtual instruments.
“For almost 30 years now, we have been trying to invent new ways for people to experience music through gameplay,” says Alex Rigopolous, co-founder and studio lead of Harmonix. “We never had an opportunity to do that on anything like the insane scale that Fortnite offers.”
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Epic Games previously dabbled in music by purchasing the platform Bandcamp in 2022, but the partnership proved short-lived. In September, Epic announced that it was laying off 16% of its staff and that the licensing company Songtradr was acquiring Bandcamp in September. (Layoffs hit Bandcamp as well.)
“While Fortnite is starting to grow again, the growth is driven primarily by creator content with significant revenue sharing, and this is a lower margin business than we had when Fornite Battle Royale took off,” Epic Games CEO Tim Sweeney wrote in an email to staff.
Fortnite is known for unbridled mayhem: Up to 100 players fight to death on an island, with the goal of being the last one standing. Rigopolous believes the game’s new music component may attract new users who steered clear in the past.
“Not everyone on Earth is interested in a battle royale game,” he says. In contrast, “basically everyone on Earth loves music.”
Fortnite Festival players will initially be able to drum, strum, or sing along with more than 30 songs, including the Weeknd’s “Blinding Lights,” the Killers’ “Mr. Brightside,” and Psy’s “Gangnam Style.” Players form a team, pick their track of choice, and choose an instrument — in addition to the usual suspects like guitar and percussion, they can select vocals, bass, keytar, and more. Once they’re transported to the stage to perform, game play may remind some users of Guitar Hero, with brightly lit notes zipping towards the user indicating what button they’re supposed to press on their keyboard or console.
Epic Games’ goal is eventually to have “hundreds” of songs available to play in Fortnite Festival, according to Nanzer.
“There will be a rotation of songs that anyone can play for free,” he explains. “If there’s a song you really like and want to be able to play whenever you want, you can go buy that song” to retain access to it. Nanzer says “music rights holders will share in the revenue from sales of music in the game.”
We’ve taped the launch setlist to your amp, so you can prepare for the Festival 😎These sweet Jam Tracks will be on rotation starting in just three more days, so study up! pic.twitter.com/gYJc8jzfLN— Fortnite Festival (@FNFestival) December 6, 2023
These tracks — “Blinding Lights,” “Mr. Brightside,” Lady Gaga’s “Bad Romance” — are already massive, billion-stream hits. “Most of the music in the game is going to be huge hit music, household names,” Rigopolous acknowledges. But the hope, in time, is to introduce music from “lesser known artists who are cool and people should hear.”
“We have lots of pitches already from our label partners,” Nanzer adds. “We really want this to become a real opportunity for [the music industry] to reach this audience in a way that they’ve never been able to reach them before.”
If YG Entertainment’s re-signing of all four BLACKPINK members is any indication, investors can worry less about K-pop companies’ ability to retain their artists.
YG Entertainment gained 17.2% this week to 59,300 won ($45.00) as investors reacted to news that the four members of BLACKPINK signed to new, exclusive contracts with the agency. (The share price rose 29% the morning the announcement was made.) Uncertainty about contract renewals had caused the company’s share price to decline 16% in the week ended Sept. 22, as news reports out of South Korea said three BLACKPINK members would leave YG and spend just six months out of the year with the group. At the time, the company denied the news and insisted that the deals were still being discussed.
The BLACKPINK renewal appeared to have a positive impact on the stocks of other K-pop companies. Shares of HYBE gained 12.3% to 237,500 won ($180.24), while SM Entertainment shares rose 3.6% to 88,200 won ($66.94). Those improvements far exceeded the 0.5% gain posted by South Korea’s KOSPI composite index.
The Billboard Global Music Index gained 2.2% to a record 1,481.56, surpassing the previous high of 1,426.49 set four weeks earlier. That brought the index’s year-to-date gain to 26.9%. Half of the index’s 20 stocks finished the week in positive territory.
This week’s 2.2% gain outpaced major indexes around the world. In the United States, the Nasdaq improved 0.7% to 14,403.97 while the S&P 500 rose 0.2% to 4,604.37, reaching an all-time high of 4,609.23 on Friday (Dec. 8). In the United Kingdom, the FTSE 100 gained 0.3% to 7,554.47.
Spotify was the biggest contributor to the Billboard Global Music Index’s gain this week. The streaming company — the largest component of the 20-company, float-adjusted index — enjoyed a double-digit increase this week, gaining 9.6% to $198.05 after Monday’s news the company will lay off 17% of its workers. Following Thursday’s news that CFO Paul Vogel will leave the company in March 2024, Spotify shares rose 1.1% on Friday.
Another stock to react to financial news was Sphere Entertainment Co., which announced the sale of $225 million in convertible senior notes that mature in 2028. That sent the company’s shares down 15.5%, but the stock recovered most of its losses and finished the week down only 5.3% to $32.66. Following the debt announcement, Sphere Entertainment was upgraded by Seaport to a “buy” with a $38 price target, representing a 16.4% upside over Friday’s closing price. U2 concerts were doing $500,000 more per show than expected and the $99 average ticket price to the Darren Aronofsky film Postcard From Earth was above analysts’ $84 estimate.
The smallest stock on the index, Abu Dhabi-based music streamer Anghami, dropped 41.3% to $1.35 without any regulatory filings or other news. The stock was trading below $1.00 per share as recently as Nov. 15 but jumped to $3.49 on Nov. 21 on trading volume of 57.7 million shares, or about 50 times the daily average.
The Michael Jackson estate isn’t happy about a recently-announced digital sale of an early Jackson 5 recording, warning that it “violates the Jackson Estate’s rights” and could lead to a lawsuit.
A Swedish company called anotherblock announced Wednesday (Dec. 6) that it would digitally release a 1967 version of the song “Big Boy,” claiming it represented the first time Jackson’s voice had been put on tape. But in a letter sent Thursday, the estate’s attorney, Jonathan Steinsapir, pointedly advised the company about several problems that might “expose you to liability to the Jackson Estate.”
Among other things, the letter (which was obtained by Billboard) warned that the estate owns all rights to Jackson’s name, image and likeness rights, along with his trademarks. “Given this,” Steinsapir wrote, “any use of Michael’s name, image, and likeness in marketing, advertising or in the product itself violates the Jackson Estate’s rights.”
At issue in the budding dispute is a 1967 version of the Jackson 5 song “Big Boy,” a subsequent version of which was commercially released in 1968. The earlier version is called the “One-derful Version” because it was recorded at Chicago’s One-derful Studios. According to Rolling Stone, that version of the song first surfaced in 2009 and was released in 2014 on vinyl.
On Wednesday, anotherblock said it would release the track for the first time in digital format, doing so in partnership with Jackson’s mother, Katherine Jackson, and with a company called Recordpool, which purportedly controls the intellectual property rights to the recording. The sale, which included $25 and $100 packages with various other goodies, is meant to continue through the weekend via the anotherblock site.
But in its letter on Thursday, the estate warned that whatever deals anotherblock had struck to facilitate the “Big Boy” sale could be invalid if they covered rights that were controlled solely by Michael’s estate, like his trademark rights. And the estate’s lawyers strongly questioned the claim that the “One-derful Version” was Jackson’s first studio recording.
“We have no information to confirm that the unreleased recordings you are making available are in fact the first time Michael Jackson’s ‘voice was put on tape’ or even that it was the first time he recorded in a studio at all,” the estate’s attorney wrote. “Indeed, we have good reason to believe that this is not the first time Michael Jackson ever recorded in a studio. Because of that, you are likely misleading the public.”
A 2009 article by the Chicago Reader called the “One-derful” track “the earliest known studio recording of Michael Jackson and his brothers.” A 2014 article from Rolling Stone likewise called the recording the “earliest commercially available Jackson 5 recording.”
In Thursday’s letter, the estate also sharply criticized the decision to publish previously unreleased songs, telling anotherblock that Jackson was “was the consummate perfectionist” and that he had been “very careful about what recordings he released to the public.”
“Because of this, we have serious doubts that Michael would have ever wanted these recordings released and commercialized,” the estate’s attorneys wrote. “As the persons designated by Michael to protect his legacy after his untimely passing, the Estate’s Co-Executors are duty-bound to point this out. What you are doing is the opposite of honoring Michael Jackson.”
As if the message wasn’t clear enough, at the bottom of the letter the estate warned that it reserved “all of the Jackson Estate’s rights and remedies,” including the right to seek monetary damages and an injunction blocking further sales.
A spokeswoman for anotherblock declined to comment.