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Global Music Rights, the boutique performance rights organization that represents Bruce Springsteen, Bruno Mars, Prince, Drake, Pharrell Williams, John Lennon, Eagles and others, has filed a copyright lawsuit against a Vermont-based group of radio stations that has allegedly played songs for years without a license.

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The lawsuit targeted Vermont Broadcast Associates, which operates seven radio stations serving local communities in Northern Vermont, New Hampshire and Quebec. The complaint, filed in Vermont federal court Thursday, also names Bruce James names as the owner of the company and a defendant. 

GMR claims that VBA’s stations have been playing 66 songs in the GMR catalog since 2017 without a license, amounting to 1,600 violations of copyright law, even though the PRO has submitted 10 separate written licenses during that time period. 

“Defendants’ infringements were neither incidental nor accidental,” the group’s lawyers write in the complaint. 

After being founded by longtime music exec Irving Azoff in 2013, GMR spent years in court litigating over licensing terms with the Radio Music Licensing Committee, the group that negotiates music licensing deals for more than 10,000 member stations. The case finally settled in 2022 with a long-term licensing agreement. 

In Thursday’s complaint, GMR claims that VBA is a member of the RMLC but nevertheless ignored “GMR’s communications and chose not to enter into GMR licenses, but continued playing GMR songs on its stations.” 

“While we only turn to litigation as a last resort, it is long established U.S. law that GMR’s clients’ copyrighted works cannot be publicly performed without a license,” GMR’s general counsel Emio Zizza said in a statement. “All the radio stations that have entered into a GMR license and are paying their fees deserve the benefit of that license. Station groups who don’t want to pay for a GMR license are not entitled to play GMR’s immensely popular catalog of songs, depriving creators of their due.”  

The GMR complaint, filed by the law firms of Lynn Lynn Blackman & Manitsky, P.C.; and O’Melveny & Myers LLP — claims that “GMR is entitled to maximum statutory damages of $150,000” if willful infringement is proven for each song played without a GMR license. 

In response to a request for comment, Vermont Broadcast Associates owner Bruce James said by e-mail: “I have been working with Zachary Dekel representing GMR and believe we are licensed.” He added he has contacted Mr. Dekel on Friday morning (Jan. 19) to “resolve any issues.” According to the O’Melveny & Meyers website, Dekel is a litigation counsel with the firm.

In response to James’ comment, GMR representatives say that Dekel reached out to the VBA owner many times but a GMR license was never taken, which is why the lawsuit was filed.

The case is not the first time GMR has gone after radio stations that allegedly failed to pay. In October 2022, the group filed three similar copyright cases against radio stations in California, Connecticut, Florida, claiming each had made the “strategic decision” to simply not pay performance royalties to the group and “hoped to get away with it.” 

“Defendants did not get away with it,” GMR’s attorneys wrote at the time. “Its stations have been caught red-handed violating the law.” 

The Michael Jackson estate is embroiled in a lawsuit with a Las Vegas tribute act called MJ Live, which claims that the King of Pop’s attorneys have unfairly begun threatening to sue over a show that’s been performed nightly on the Strip for more than a decade.

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In a complaint filed Wednesday in Nevada federal court, the organizers of MJ Live asked a judge to rule that they could continue to stage their concerts featuring a Jackson impersonator, which are held six nights per week at the Tropicana in addition to other venues around the country.

Despite the fact that the show has allegedly been performed more than 3,600 times since 2012, MJ Live says the Jackson estate has only recently begun threatening to sue – including sending cease-and-desist letters to other venues demanding that they cancel upcoming tour dates.

A rep for the Jackson estate did not immediately return a request for comment.

Wednesday’s lawsuit is primarily what’s known as a “declaratory judgment action” – a type of case aimed at proving that you’ve done nothing wrong. In their complaint, MJ Live’s lawyers argue that the group has not infringed any trademarks held by the estate, nor has it violated his likeness rights by impersonating him.

Notably, Nevada’s state likeness laws have an unusual carveout the allows for the legal use of a celebrity’s likeness by “impersonators in live performances” – likely a nod to the long-standing and beloved tradition of Elvis Presley look-alikes in Las Vegas. Citing that statute, as well as the First Amendment’s protections for free speech, MJ Live says it has a clear legal right “to impersonate Michael Jackson” in its shows.

But the group also goes further, boldly arguing that it’s actually the Jackson estate that’s infringing intellectual property. By using the “MJ Live” name for more than a decade, MJ Live’s lawyers say the group has developed its own trademark rights to that particular name – and that the estate’s recent use of “MJ The Musical” on a Broadway show is infringing of those rights.

“Over the past eleven and one-half years … plaintiff has spent millions of dollars advertising and promoting its MJ Live show,” MJ Live’s lawyers write. “Plaintiff estimates that over 2,500,000 audience members, clapping and singing in their seats, jumping to their feet, and dancing in the aisles, have experienced the joy, excitement, and thrill of MJ Live.”

The complaint also argues that the estate’s decision to send cease-and-desist letters to block future tour dates represents “intentional and wrongful interference” in MJ Live’s business. MJ Live says the letters, allegedly sent to six different venues in total, in California, Florida, Illinois, Ohio and Wisconsin, were “intended to harm Plaintiff.”

This isn’t the first time the estate of a famed artist has tried to crack down on Vegas impersonators. Back in 2022, Authentic Brands Group – the company that owns the rights to Elvis’ likeness – sent letters to a number of Las Vegas chapels where Presley impersonators officiate weddings, demanding that they obtain licenses. At the time, ABG said it was not seeking to shut down the impersonators, but partner with them to “safeguard his legacy.”

Nuria Andreu has joined GTS and is appointed manager of Spanish singer-songwriter Aitana, Billboard can report. In her new role, as part of the GTS (Global Talent Services) team in Spain, she will be exclusively dedicated to the growth and further development of Aitana’s career, which was previously managed by Olga Palma at GTS.

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Based in Madrid, Andreu will report directly to Narcís Rebollo, president, Universal Music Iberian Peninsula.

After beginning her career in the pharmaceutical sector with experience in other fields, such as communications and strategy, Andreu founded her own marketing and production agency in 2018. In 2020, she joined Sony Music Spain as head of communications and PR and, in 2023, was appointed communication director of Rosalía’s company, Motomami S.L. Before joining Universal, she was Rosalía’s personal manager.

“I’m grateful for the opportunity to join a company like GTS and the project of an artist with Aitana’s talent and strength,” Andreu said in a statement. “Wishing to contribute and continue adding success hand in hand with the magnificent team that She already has.”

Aitana, who signed with GTS in 2018, added, “looking forward and excited to start a new stage in my career and my artistic development [and] continue growing little by little and learning about music together.”

With more than 11 million monthly listeners on Spotify, the 24-year-old artist wrapped her Alpha Tour in 2023 with a sold-out show at the Santiago Bernabeu Stadium in Madrid, which sold all tickets in a record-breaking 72 hours, becoming the first Spanish artist to do so.

“I am certain that with her experience and skills, Nuria’s incorporation to GTS will be key to Aitana’s continued success, boosting her unstoppable career development and consolidating the GTS strategy of growth and service to our artists, as a leading company in the sector,” expressed Rebollo.

Kakao Entertainment nominated two executives to serve as co-CEOs on Friday (Jan. 19): Kisu Kweon, who is currently chief operations officer, and Joseph Chang, global strategy officer. 
The South Korean tech conglomerate Kakao is influential in the music industry. Its subsidiary, Kakao Entertainment, merged with Melon, the country’s top streaming platform, in 2021, and it also owns Starship Entertainment, which has developed internationally successful K-pop groups like Monsta X and Ive. But in 2023, Bae Jae-hyun, Kakao’s chief investment officer, was indicted for allegedly manipulating stock price during a corporate battle with HYBE for a controlling stake in K-pop company SM Entertainment.

In December, Kakao’s founder and chairman said the company would “reset our expansion-centered management strategy,” “focus on core businesses,” as part of an effort to “change the company culture,” according to The Korea Economic Daily.

The promotion announcement at Kakao Entertainment emphasized “the need for leadership with a new perspective.” “We feel a great responsibility as we take on leadership during these pivotal times,” Kweon and Chang said in a joint statement. 

“Our priority is to contribute to and meet the expectations of society going forward,” they added. “At the same time, we are dedicated to proving Kakao Entertainment’s full potential in the global market. We are excited to accelerate the innovation of our expansive content business to grow as a truly global entertainment player.”

The announcement of the co-CEO nominees indicated that they would each have slightly different purviews. Kweon “plans to focus on stabilizing the business while emphasizing innovation,” according to the press release, while Chang — a former Sony Music executive — will prioritize “strengthening [Kakao Entertainment’s] competitiveness in IP planning, production, and distribution.”

Now that Kweon and Chang are nominated as co-CEOs, the announcement noted that they “will undergo a formal appointment process through the board of directors and general shareholders’ meetings.”

It’s time for another quick whirl around the Executive Turntable, Billboard’s comprehensive(ish) compendium of promotions, hirings, exits and firings — and all things in between — across music.
The National Association of Music Merchants (NAMM) launched a search for its next executive director of the NAMM Foundation, following a recent decision by longtime leader Mary Luehrsen to step down by Sept. 30. In addition to her director role at the foundation, Luehrsen is senior advisor for public policy at the music trade organization, which stages its 2024 event next week in Anaheim. The foundation’s key activities include school and career resource programs such as Careers In Music and GenNext, as well as Best Communities for Education, which gives props to schools for committing to music education. In her legendary and impactful 22-year run at NAMM, Luehrsen’s “visionary ideas and leadership have resulted in thousands of music educators, college students, community nonprofit music service leaders and international partners meeting, learning and networking at [the] NAMM Show,” the trade org said. She also expanded NAMM’s connection with other domestic and international music orgs and worked to shape public policy toward making music integral to education.

“Her passion, intellect, and relentlessly positive efforts have laid a strong foundation for our future success and we are so grateful she has lent us her talent, mentorship and creativity, all of which have joyfully impacted millions of next-generation music makers,” said NAMM CEO John Mlynczak.

Russell Reynolds is leading the search for Luehrsen’s replacement. All prospective candidates are invited to reach out directly to the Russell Reynolds Associates team at NAMMFoundationED@russellreynolds.com.

Meanwhile …

Sixthman has a brand-new captain. Norwegian Cruise Line tapped Jeff Cuellar to succeed Anthony Diaz atop — or should we say aboard — its floating music festival subsidiary, which is coming off its “most successful year to date.” Cuellar’s been with Sixthman since October 2021, first as vp of partnerships and later vp of events, marketing and community — all during the backdrop of the boat-rocking COVID-19 pandemic. Prior to Sixthman, he was vp of strategic partnerships at festival promoter AC Entertainment, where he worked on Bonnaroo, Forecastle, Railbird and many more. As CEO, Cuellar will keep pushing for growth and work to solidify Sixthman’s place as the entertainment cruise king. Sixthman hosted over 45,000 guests over the course of 18 cruises in 2023, including the massive EDSea electronic music festival aboard the big ol’ Norwegian Joy. This year’s dock-et includes events hosted and/or curated by Kevin Smith, Yellowcard, Sister Hazel and Joe Bonamassa, among others. “In the short time Jeff has been at Sixthman, he’s made a significant impact,” said outgoing CEO Diaz, who is staying on as an advisor until June. “He played an integral role in the success of 2023, leading the strategy and outreach to strengthen and develop new artist relationships and debut first-for-the-brand festival concepts across all genres.”

Warner Chappell Music Germany promoted Natascha Augustin to managing director, reporting to WCM co-chair and CEO Guy Moot. The move means outgoing Germany MD Lars Karlsson will now be able to solely focus on his other gig, leading WCM Scandinavia. Augustin joined WCM in mid-2010 and was most recently vp of creative and head of A&R. She also helped launch Atlantic Records Germany, where she was head of strategy, but will now focus on WCMG. “I see myself as an advocate for songwriters and artists, fighting for their rights in a rapidly changing world full of new challenges,” she said. The company noted that Augustin will spend time in all three German hubs for WCM — Berlin, Hamburg and Munich. “Germany is such an important global market, and home to some of the world’s best writers, producers and artists,” added Moot. “We’re the number one domestic publisher there thanks to the support that Natascha has given a generation of songwriters under Lars’s expert guidance.”

Staying in Deutschland, BMG promoted Johannes von Schwarzkopf to senior vp of corporate development — marking a title fist-bump in a department he has led since its formation last year. Von Schwarzkopf joined BMG in 2021 as senior director of board projects and was promoted for the first time in 2023. In his vp-of-cd role, he’ll continue developing new business opportunities for the world’s fourth largest music company, and spearhead initiatives to accelerate growth in areas like partnerships and GenAI. He reports directly to BMG CEO Thomas Coesfeld and is based in the company’s Berlin headquarters. “Johannes has a proven track record of analytical rigor and thought leadership, and has played a pivotal role in developing and implementing our new strategy over the past year,” said Coesfeld. “His entrepreneurial mindset and commitment to the team make him a great leader.”

Black Music Action Coalition co-founder Binta Niambi Brown has joined Manatt, Phelps & Phillips, LLP as entertainment partner in the legal and consulting firm’s NYC office. Brown has worked in a number of industries: as a corporate lawyer for top firms like Cravath Swaine & Moore and Kirkland & Ellis, as a member of Chance the Rapper’s management team at Nice Work, and more recently as head of operations and strategy at Keep Cool Records/RCA. She is also an adjunct professor at the Clive Davis Institute of Recorded Music at NYU Tisch. At Manatt, Brown will work within the creator economy and advise global mogul-level clients on how to build, innovate, expand and protect their businesses and brands, the firm said. “Binta has a tremendous reputation as a corporate dealmaker, talent manager and artist advocate, making her incredibly invaluable to talent-side clients who are increasingly building their businesses and taking ownership of their personal brands in today’s exploding creator economy,” said Manatt entertainment leader Jordan Bromley.

David Barbis is the new head of promotion at Big Loud Rock, the label home of HARDY, Blame My Youth, Jaguar Twin and other alt-rock acts. Barbis will spearhead all promotional matters at the Los Angeles-based label and report up to BLR president Greg Thompson. He joined from C3 Management, where as vp of promotion he worked on campaigns for wide slate of artists, including White Reaper, The Head and the Heart, Modest Mouse and Chevelle, among others. Prior to C3, Barbis held roles at Polygram, Dreamworks and Capitol Records. “Dave is a true music man and one of the most outstanding promotion executives I have ever known,” Thompson said. “His passion for his artists is unparalleled, and we are beyond thrilled to have him join the Big Loud Rock team.” Barbis can be reached at daveb@bigloud.com.

Primary Wave Music added Agnes Kacicki to its executive team as head of corporate development. Working closely with Primary Wave’s founder and CEO Larry Mestel, Kacicki will focus on big-fish catalog and business acquisitions, as well as forming portfolio-expanding partnerships on the international scale. Based in Los Angeles, Kacicki will also work closely with Bill Cisneros, president of IP investment management, and Ramon Villa, the company’s COO, to assist with investor relations. Kacicki comes from RBC Capital Markets, where she served as director in the investment banking division and specialized in advisory and capital raising activities across various entertainment sectors, including Primary Wave’s bailiwick: music publishing. “Agnes has been a close adviser to Primary Wave for many years in her senior role at RBC, she will make a very significant impact on our ability to increase our acquisition capabilities, and service our partners,” noted Mestel.

Sony Music UK hired Brooke Salisbury to fill the newly created position of senior vp of international marketing and digital partnerships. In the role, Salisbury will oversee the various teams working on cross-border marketing and partnership with digital services like Spotify, Apple Music and YouTube. She arrives at Sony from Warner Music’s ADA UK, where she was general manager of the distribution and label services division. Prior to ADA, Salisbury held senior roles at Domino, where she rose to head of marketing in the UK market and worked with rock favorites Arctic Monkeys and Franz Ferdinand, among others. She reports up to Sony Music UK & Ireland chairman and CEO Jason Iley, who remarked of being “delighted to welcome Brooke to her new role where she will help bolster our service for both artists and digital partners.”

Global management company IMG Artists promoted Sam Snook to head of vocal, London. Snook has clocked 17 years in the classical musical industry, including positions at the Lyric Opera of Chicago, Santa Fe Opera and Opera America. He first joined IMG Artists in 2009, working closely with evp and global head of vocal Matthew A. Horner. “Sam’s move to London is a very positive development for IMG Artists,” Horner said. “With the complicated nature of our business, and the best artists needing true worldwide representation, I see this move by one of my most trusted colleagues as a fruitful venture for all of us in vocal.”

BOARD SHORTS: Music community startup We Are Giant added AEG Presents COO of global touring David Rappaport to its board of directors. He’ll lend his expertise on event execution, artist relations and more at the freshly launched plaform for hosting licensed listening parties, live streams, chats and more on its site and app … Hipgnosis Song Fund’s board of directors have a plan to attract bidders — and satisfy concerned shareholders. Learn all about it here.

Deluge Music founder David Robkin has launched two new record labels. Robkin worked with Johnny Gates and Austin Luther to ideate East Music Row Records — “with a goal of blending the hip, innovative sides of Nashville’s new indie rock and alt-country music with the musicianship, professionalism, and ingenuity of Music Row classists.” Robkin then took inspiration from Sun Records and Motown for Deluge Records Nashville, which is modeled in the tradition of a classic collaborative music incubator. “DRN wasn’t created to extract all the worth possible out of its artists, instead, the team chose to foster relationships between artist and label, creating a home in which equitable recording deals aren’t rarities,” the company said. DRN was born through a relationship between Robkin, songwriter Sam Grow, and Grow’s manager Brad Austin.

Breanne Hoke joined Joie Manda’s Encore Recordings as executive vp, head of business and legal affairs. Prior to Encore, she spent five years with Interscope’s business and legal affairs team, rising to vp in October 2021. She got her start in music as a legal fellow at the NMPA before joining Warner Records as an attorney-then-associate director in its B&LA department. Manda, a longtime executive at Interscope Geffen A&M, launched Encore Recordings in 2021 with a goal of “pushing culture forward.”

CAA promoted Jenna Powell to communications executive. She joined the agency in early 2018 as assistant to then-COO Michael Mand before rising through the communications ranks to her current position, which is based in Nashville and supports CAA’s music touring, digital media, theatre and gaming divisions.

Garrett Ream has joined Position Music as vp of artist strategy and promotion, a move announced by president and CEO Tyler Bacon. Ream previously served as vp of rhythm promotion at Republic Records, where he worked on radio and promo campaigns for a murderers’ row of stars including Taylor Swift, Drake, The Weeknd, Arianna Grande, Post Malone, Pop Smoke and Greta Van Fleet. Ream will report directly to J Scavo, general manager of recorded music at Position. “Garrett is a key hire for us as we continue to build our frontline artist roster and label marketing team,” said Bacon. “In addition to bringing major label promotion experience, he also has an indie drive and entrepreneurial approach to identifying and developing artists that is in lockstep with our company ethos.”

Ten2 Media appointed “avid technologist, hacker and maker” Mike Flynn as chief technology offcer of the upstart company, which works with clients on strategies and then distributes, markets and monetizes that video content on YouTube. Flynn was previously CTO of Studio71, where he spearheaded the development of numerous technology platforms during an 11-year tenure. “”Mike’s track record of success and his passion for leveraging technology to drive business growth align perfectly with our vision for the future of Ten2 Media,” glowed Ten2 Media co-founders Donna Budica and George Karalexis.

Music industry veteran Bob Reeves opened the private venture Excelsior Music, which will focus on management, artist development, radio/tour marketing and promotion. Reeves’ first client is Nashville-based country singer-songwriter Orlando Mendez. Mendez, a second-generation Cuban-American from South Florida, appeared on NBC’s The Voice in 2022, and is currently working on his debut project. Reeves previously held posts as vp and national director with Warner Music Nashville, Sony Music, Monument Records, Epic Records and most recently, Riser House Entertainment. –Jessica Nicholson

Tom Stingemore, who spearheaded Hipgnosis’ sync efforts until his departure over the summer, launched ALLOY Sync Distro as part of an ambitious effort to modernize the music biz’s sync licensing and approvals process. ALLOY is described as a “state-of-the-art, industry-wide platform that significantly streamlines the sync licensing process, while allowing labels & publishers to retain full control of their sync rights,” according the announcement. Stingemore, who has also previously held senior sync roles at UMG and BMG, said the licensing process has been “arduous, disjointed and fractured” for too long and is collaborating directly with industry stakeholders to develop a “gamechanging commercial solution for the entire music business.”

ICYMI:

Phill Bauer was named president of DistroKid … Alvaro Rizo joined Carlos Vives’ Gaira Musica Local label as managing director … the National Music Publishers’ Association (NMPA) hired former Mitt Romney staffer Chris Barkley (pictured) as its senior vice president of government affairs … YouTube laid off 100 in its content and creator teams … and Condé Nast gutted Pitchfork as part of a restructuring that folds the esteemed music criticism site under men’s style and fashion bible GQ.

Last Week’s Turntable: Resnik Makes It Raines

HarbourView Equity Partners continues to scoop up R&B/hip-hop music assets with its latest acquisition of certain publishing and recorded music assets from singer, songwriter and record producer Jeremih. Terms of the deal were not disclosed. Explore Explore See latest videos, charts and news See latest videos, charts and news Jeremih’s Hot 100 hits include “Birthday […]

Authorities in the Dominican Republic have arrested U.S. rapper Tekashi 6ix9ine, who is scheduled to appear in court on Thursday on charges of domestic violence. The rapper, whose real name is Daniel Hernández, is being held at a jail in the capital of Santo Domingo, where he was arrested Wednesday, officials said. No further details […]

Hipgnosis Song Fund’s board of directors wants a workaround to the call option that gives the investment advisor, the Merck Mercuriadis-led Hipgnosis Song Management, the ability to purchase the company’s music catalogs if its contract is ended. After consulting with shareholders who own more than 60% of outstanding shares, Hipgnosis Songs Fund’s board of directors […]

Music executives Ángel del Villar and Javier “El Tamarindo” González have joined forces to launch a new distribution company, DSTRO7. Del Villar’s indie label, DEL Records, will be exclusively distributed by DSTRO7, as will González’s Tamarindo Rekordsz, which he founded in 2012. According to a press release, the company will focus on music streaming, monetization, […]

The first-ever North American music industry climate summit is growing.
The inaugural Music Sustainability Summit has announced that due to high demand, it’s moving the event from the USC campus to the 2,300-capacity The Novo in downtown Los Angeles.

Set to take place on Feb. 4, the summit will feature a day’s worth of discussions on how the music industry is addressing, adapting to and finding solutions for the climate crisis.

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In addition to the summit’s previously announced programming, the event has added a conversation with promoters and venues including Lindsay Arell, the chief sustainability officer of ASM Global; Lucy August-Perna, the head of global sustainability at Live Nation Entertainment; Erik Distler, the vp of sustainability at AEG; and Kristen Fulmer, the head of sustainability at Oak View Group and GOAL. The discussion will focus on challenges, bright spots and visions for the future.

Additionally, the summit has added a conversation between representatives from several major labels, including Olga LaBelle, the vp/head of ESG at Warner Music Group. Representatives from two other labels will be announced in the coming weeks.

Newly added speakers include Jonathan Foley, the executive director of Project Drawdown; Cassie Lee, the CEO of Sound Future; Adam Met of the band AJR, who also serves as the executive director of Planet Reimagined and a professor at Columbia University; artist Beattie Wolfe; artist AY Young; Jett Glozier, the global head of infrastructure at Sound Diplomacy; Jon Ozaksut, the digital director at the Yale Program on Climate Change Communication; and Rita Kampalath, the chief sustainability offer of L.A. County.

Tickets for the summit are on sale now and available on a sliding scale. The doors open at 8:30 a.m., with programming beginning promptly at 9 a.m. and running until 5:30 p.m.

The event is being organized by the Music Sustainability Alliance, which provides science-based solutions, business case analyses, best practices and tools for operational change across the music industry. The Alliance reports that a diverse group of attendees has already registered for the event, including big names in climate science and sustainability, along with music industry professionals from venues, promoters, agencies, production companies, artist management companies and more.

“Every job is a climate job,” the Music Sustainability Alliance’s Amy Morrison tells Billboard.

Billboard is the official media partner of the Music Sustainability Summit.