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Jonathan Shank‘s Terrapin Station Entertainment has announced a majority investment in Los Angeles-based production services company, Black Ink Presents. The agreement connects the Sony Music Masterworks-owned Terrapin with Blank Ink CEO John Kinsner‘s production management and design firm known for its work in concerts, immersive events and “live-to-film” shows in which a full orchestra performs […]
LONDON — “I still feel like that little girl who started out in music publishing,” said Universal Music Publishing Group chairman and CEO Jody Gerson as she accepted the Ralph Peer II Award for Outstanding Contribution to Global Music Publishing. It was presented by the award’s namesake at the July 10 annual meeting of the International Confederation of Music Publishers, or ICMP, held at Abbey Road Studios in London.
Gerson was, of course, being modest: She’s one of the most accomplished publishing executives in the world. But in front of dozens of European publishing and collective management executives, she shared the story of how she got started in the business.
The Pennsylvania native grew up in a music family that owned nightclubs in Philadelphia, and she had always been interested in getting into the music business. But when she first applied for label jobs, she didn’t have much luck. Eventually, she scored an interview with Chappell Music (later Warner Chappell) and her first job there was as the archivist, where she ran the tape library and became interested in the demos submitted by songwriters.
“I started thinking about marching songs with artists,” she remembered.
At the time, she pointed out, the music publishing business was much smaller, both in absolute terms and in comparison with recorded music, which dwarfed it in terms of both revenue and, it seemed to many at the time, wow factor. Now publishing is thriving, and a series of big song catalog purchases are generating plenty of excitement and attention.
The award was presented by Ralph Peer II, executive chair of peermusic and the initial recipient of the ICMP award that’s now named after him. “This wasn’t my idea,” he joked about the name of the prize. “It was foisted on me.” But he praised Gerson’s dedication to the publishing business. “On an everyday level she helps make the industry better,” he said. “She has acumen in business and music that’s very deep.”
Gerson was introduced by Mumford & Sons singer-songwriter Marcus Mumford, who praised her as well as the publishing business at large. “I don’t think artists are the best at protecting their songs, and managers aren’t always much better,” he joked. “We need publishers!”
The ICMP meeting itself, held at Abbey Road before the awards dinner, was more about business — royalties, metadata and the other details that make sure publishers and songwriters get paid as fast and accurately as possible. Trombonist Eric Crees, who plays at the Royal Opera House in Covent Garden spoke about making film soundtracks, as did composer Stephen Warbeck.
SYDNEY, Australia — Indie rockers the Rions have struck a global publishing deal with Sony Music Publishing Australia, Billboard can exclusively reveal.
It’s full steam ahead for the Sydney band, whose debut EP Minivan is due out Aug. 11. Featuring fan fave “Scary Movies” and the title track, Minivan was recorded with producer Chris Collins (Matt Corby, Skeggs, Middle Kids) in the Byron Bay hinterlands.
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“They’re a brilliant young band with a lot of heart and soul, writing great songs and we have no doubt they will be captivating audiences for a long time,” comments Sony Music Publishing managing director Damian Trotter, the publishing veteran who signed Tame Impala’s Kevin Parker.
Hailing from the Northern Beaches, the Rions was formed in 2016 by schoolmates Noah Blockley (lead vocals, bass guitar), Harley Wilson (guitar), Asher McLean (guitar) and Tom Partington (drums).
The lads got their break with first prize in Triple J’s 2021 Unearthed High competition, for their song “Night Light”. The track would land at No. 51 on triple j’s Hottest 100 countdown for 2021, and they’d follow it up with “Anakin,” which appeared at No. 64 in the national youth network’s annual countdown for 2022.
Support slots came with Lime Cordiale and Boy & Bear, then festival spots at Grapevine Gathering, Party In the Paddock and Festival of the Sun, and, more recently, a sold-out 10-date national tour in support of “Scary Movies.”
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Coming up, a spot on the bill for the two-day Yours & Owls Festival 2023 this October, headlined by Bakar, Broods and Chet Faker.
The Rions are managed by Steve de Wilde at UNIFIED Artist Management. “We’re really excited to partner with Sony Publishing in the next phase of this incredible band’s career,” he enthuses. “Damian and the team have such an impressive track record, and I can’t wait to see what this pairing of creative minds can unlock on a global scale.”
Selena Quintanilla‘s father, Abraham Quintanilla Jr., is suing Los Angeles-based Catalina Classic Cruises over an “unauthorized” live tribute in honor of the late Tejano star. Explore Explore See latest videos, charts and news See latest videos, charts and news According to the lawsuit, filed Monday (July 10) in the Central District of California, Selena’s father […]
This is The Legal Beat, a weekly newsletter about music law from Billboard Pro, offering you a one-stop cheat sheet of big new cases, important rulings and all the fun stuff in between.
This week: Lady Gaga defeats a lawsuit claiming she owes a $500,000 reward to a woman convicted over the 2021 gunpoint robbery of the star’s French bulldogs; Kanye West faces another lawsuit about allegations of unsafe conditions at his Donda Academy; Diddy makes new racism accusations in an unsealed version of his tequila lawsuit; and much more.
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THE BIG STORY: Lady Gaga Doesn’t Have To Pay Her Dog-Napper
When Jennifer McBride sued Lady Gaga in February, demanding that the star pay out on a $500,000 reward she’d offered for the return of her stolen French bulldogs, McBride left out one very small detail: that she herself had been convicted of a crime over the violent 2021 robbery.
McBride was one of five people charged in connection with the Feb. 2021 gunpoint dog-napping, in which Gaga’s dog walker, Ryan Fischer, was shot and nearly killed. Though she returned the dogs days after the incident and claimed she’d found them tied to a pole, police later connected McBride to the thieves and she eventually pleaded out to one count of receiving stolen property.
But in a chutzpah-laden civil lawsuit, McBride claimed that Gaga made a binding “unilateral” offer to pay the reward in return for the safe return of the dogs, citing media reports that the offer would be paid with “no questions asked.” McBride said that regardless of her role in the crime, she had simply held up her end of a valid contract.
Gaga’s attorneys begged to differ, arguing last month that it would be absurd to allow McBride to “profit from her participation in a crime” even if she had eventually returned the dogs: “The law does not allow a person to commit a crime and then profit from it,” Gaga’s lawyers wrote.
In a ruling on Monday (July 10), Judge Holly J. Fujie agreed with those arguments, dismissing the case. To find out why, go read our entire story, which contains a link to the judge’s full written ruling.
Other top stories this week…
MORE DONDA ACADEMY ACCUSATIONS – Kanye West was hit with another lawsuit about allegedly unsafe conditions at his Donda Academy, including the bizarre accusation that the school lacked windows because the embattled rapper “did not like glass.” The case came months after a separate case that claimed the rapper fed students only sushi and that he was “afraid of stairs.”
NEW CLAIMS IN DIDDY TEQUILA CASE – An unredacted version of Diddy’s lawsuit against Diageo revealed new details about his allegations that the spirits giant unfairly treated his DeLeon Tequila as a “Black brand.” Among the new accusations was a claim that Diageo developed a watermelon flavor despite Diddy’s protests about the racist history and negative connotations with watermelon in brands aimed at Black consumers.
DABABY DROPPED FROM ‘LEVITATING’ CASE – The rapper was voluntarily dismissed from a copyright lawsuit accusing him and Dua Lipa of ripping off their smash hit “Levitating” from a 1979 song called “Wiggle and Giggle All Night” and a 1980 song called “Don Diablo.” The rapper had been named because he was featured on a popular remix of Lipa’s smash hit, which spent more than a year on the Hot 100.
CHALLENGE TO TIKTOK BAN – TikTok and a group of five users asked a federal judge to block Montana from enforcing its first-in-the-nation law banning the video-sharing app from the state, warning that the law is unconstitutional and could cause irreparable harm if allowed to go into effect in January.
ARETHA FRANKLIN ESTATE BATTLE – A jury in Michigan decided that a handwritten document created by singer Aretha Franklin in 2014 and found in her couch after her 2018 death was a valid will, overriding a 2010 will that was discovered around the same time in a locked cabinet.
A document handwritten by singer Aretha Franklin and found in her couch after her 2018 death is a valid Michigan will, a jury said Tuesday, a critical turn in a dispute that has turned her sons against each other.
It’s a victory for Kecalf Franklin and Edward Franklin whose lawyers had argued that papers dated 2014 should override a 2010 will that was discovered around the same time in a locked cabinet at the Queen of Soul’s home in suburban Detroit.
The jury deliberated less than an hour after a brief trial that started Monday. After the verdict was read, Aretha Franklin’s grandchildren stepped forward from the first row to hug Kecalf and Edward.
“I’m very, very happy. I just wanted my mother’s wishes to be adhered to,” Kecalf Franklin said. “We just want to exhale right now. It’s been a long five years for my family, my children.”
Aretha Franklin was a global star for decades, known especially for hits like “Think,” “I Say a Little Prayer” and “Respect.” She did not leave behind a formal, typewritten will when she died five years ago at age 76.
But documents, with scribbles and hard-to-decipher passages, emerged in 2019 when a niece scoured the home for records.
In closing arguments, lawyers for Kecalf and Edward Franklin said the fact that the 2014 papers were found in a notebook in couch cushions did not make them less significant.
“You can take your will and leave it on the kitchen counter. It’s still your will,” Charles McKelvie told the jury.
Another lawyer, Craig Smith, pointed to the first line of the document, which was displayed on four large posters in front of the jury.
“Says right here: ‘This is my will.’ She’s speaking from the grave, folks,” Smith said of Franklin.
Kecalf and Edward had teamed up against brother Ted White II, who favored the 2010 will. White’s attorney, Kurt Olson, noted the earlier will was under lock and key. He said it was much more important than papers found in a couch.
“We were here to see what the jury would rule. We’ll live with it,” Olson said after the verdict.
The jury found that the 2014 version was signed by Aretha Franklin, who put a smiley face in the letter ‘A.’
Olson said there still could be discussions with the judge over whether some provisions of the 2010 will should be fulfilled.
Franklin’s estate managers have been paying bills, settling millions in tax debts and generating income through music royalties and other intellectual property. The will dispute, however, has been unfinished business.
There are differences between the 2010 and 2014 versions, though they both appear to indicate that Franklin’s four sons would share income from music and copyrights.
But under the 2014 will, Kecalf Franklin and grandchildren would get his mother’s main home in Bloomfield Hills, which was valued at $1.1 million when she died but is worth much more today.
The older will said Kecalf, 53, and Edward Franklin, 64, “must take business classes and get a certificate or a degree” to benefit from the estate. That provision is not in the 2014 version.
White, who played guitar with Aretha Franklin, testified against the 2014 will, saying his mother typically would get important documents done “conventionally and legally” and with assistance from an attorney. He did not immediately comment after the verdict.
The sharpest remarks of the trial came from Smith, who represented Edward Franklin. He told the jury White “wants to disinherit his two brothers. Teddy wants it all.”
Kecalf Franklin sat near White during the trial but they did not appear to speak to each other.
“I love my brother with all my heart,” Kecalf said outside court when asked if there was a rift.
Aretha Franklin had a fourth son, Clarence Franklin. He lives under guardianship in an assisted living center and did not participate in the trial.
If Helen Grant, the daughter of late Led Zeppelin manager Peter Grant, is selling a 10% share of the band’s music assets, as reported by Music Week and The Times, she’s in for a very nice payout.
According to that article, Grant owns not only an interest in the band’s record catalog and song publishing catalog but also a 10% share in other rights including trademarks, merchandising and other business ventures. When he died in 1995, Peter Grant, who owned a 20% stake in the band’s music assets, appears to have split that stake evenly between Helen and her brother Warren, leaving each of them a 10% share.
While Led Zeppelin originally signed to Atlantic Records back in 1968, in 1975 the band started its own record label, Swan Song, and began issuing its music under that logo beginning with its fifth album, Physical Graffiti. Like other superstar acts of its day, the band later negotiated to obtain ownership of its entire recorded masters catalog, not just the Swan Song records, according to sources.
It’s unclear if Led Zeppelin still owns the rest of the Swan Song catalog, which includes albums by Bad Company, the Pretty Things and Maggie Bell — and, if it does, whether Helen Grant has a stake in that and is offering it up for sale, too. At the very least, according to the most recent filing containing a list of shareholders for Bad Company Entertainment, the Peter Grant estate has a 20% stake in that company as well. It’s unclear if that interest is a part of any contemplated sale.
The Music Week article reports that Helen Grant has hired Ian Penman of New Media Law to shop her share of the Zeppelin assets. Penmen didn’t respond to an e-mail request seeking to confirm the potential asset sale. Warner Music Group declined to comment, while queries to other possible press representatives for the band went unanswered.
According to a list of shareholders included in the last filing from Superhype Tapes Ltd — one of the dozen or so companies affiliated with the Led Zeppelin principals that have filings in Companies House (the U.K. equivalent of the U.S. SEC) — dated July 30, 2014, Led Zeppelin guitarist Jimmy Page owns 80% of the shares of Led Zeppelin music assets, while Helen and Warren Grant own 10% each. However, in the company’s July 25, 2000, filing, Page and the estate of Peter Grant were each listed as having a 50% stake in the company, while Page and fellow Led Zeppelin members Robert Plant and John Baldwin [aka John Paul Jones], as well as Joan Hudson of the band’s accounting firm, were listed as directors of the company. It’s unclear how or when the percentages changed and if it occurred through a negotiation or an earlier buyout of a portion of the Grant estate’s share in the company.
It’s also unclear which Led Zeppelin assets fall under this company, although its incorporation document, filed in October 1969, states that it was established to manufacture, produce, buy, sell, exploit and deal in gramophone records, tapes, sound recordings and other sound bearing devices and musical instruments, among other possible business lines. On the other hand, as noted, Superhype Tapes appears to be one of about a dozen companies incorporated for Led Zeppelin that have listings in Companies House, although some of those listed companies are dormant. Consequently, it’s unclear which Led Zeppelin music assets fall under the control of Superhype Tapes.
Another Led Zeppelin-affiliated company, United Blag Productions, shows Helen Grant with a 10% stake, while the other three living Led Zeppelin members each have 22.5%, as do the Bonham heirs, collectively.
According to what appears to be incorporation papers for United Blag — filed under its previous name of Langwest on Aug. 16, 1974 — around the time of the formation of Swan Song, the purpose of the company was to act as managers for singers, musicians and other creative entertainers as well as to produce and distribute sound recordings of all kinds as well as handling pictures, films and TV show appearances of all kinds.
Regardless of the incongruent ownership stakes listed for the Led Zeppelin members for Superhype Tapes and United Blag Productions, it looks like Helen Grant is selling a 10% stake in the band’s assets controlled by those two companies, which would mean she is selling a passive royalty income stream.
Still, the iconic Led Zeppelin catalog remains a considerable economic driver — averaging just over 1 million album consumption units annually in the United States alone over the last three years. As such, Billboard estimates that the band’s master recordings catalog generates about $24 million in revenue annually and that after deducting for production and distribution, the band likely reaped about $21 million of that amount. If the recordings carried a 20 times multiple, that would give the Led Zeppelin recorded masters catalog a nearly $420 million valuation — 10% of which would be $42 million.
Meanwhile, Billboard estimates that the publishing catalog averaged about $10.4 million annually over the last three years. After deducting a 10% administration fee, that would leave $9.4 million in revenue for the band, which at a 25 times multiple would be worth about $235 million.
While that valuation uses a high multiple, which some music asset traders might question, that concern would likely be offset by the upside potential for generating additional revenue through synch licensing. While synch typically can comprise about 25% of a publishing portfolio’s revenue base, Led Zeppelin has been very selective in granting licensing opportunities, which likely has depressed the band’s overall publishing revenue. Billboard’s valuation model uses a much smaller percentage than 25% of revenue for synch royalties in extrapolating overall publishing revenue.
Regardless of the publishing catalog’s valuation, it’s unclear how Grant would be paid from that considering that the principal songwriters in the band likely each own their publishing, as well as their songwriter share.
On the other hand, it’s conceivable that the band, along with Grant, collectively owns its publishing, which would divide 50% among the four band members and the Grant heirs, leaving the other 50%, or $6.35 million, for the songwriters to split; or that Grant owned 20% of the publishing and the band members owned the remaining publishing stakes in each of the songs they composed. Either way, that could leave Helen Grant with a 10% stake in the publishing, or a 5% stake in the publishing revenue, resulting in a $15 million-$16 million valuation, if the Grant estate indeed does own a stake in the band’s publishing.
But Billboard could find no mention of a Grant ownership stake in the sole Led Zeppelin publishing company that appears to be an ongoing operation, Flames of Albion Music, listed at Companies House.
The last document for that company, filed on May 11, 2016, listed Page, Plant, Baldwin and the Bonham heirs — Patricia Bonham, Jason Bonham and Zoe Bonham — as shareholders, while neither of the Grant heirs are listed.
But there is still merch revenue, trademarks and likeness and image to consider. Billboard estimates that Led Zeppelin averages about $2 million in merch each year. At a 10-times multiple, that would arrive at a $20 million valuation, with a 10% stake translating to $2 million. (Collectively, Billboard‘s valuation for Led Zeppelin’s recorded music, publishing and merch is about $670 million.)
A third-party software provider is to blame for a major disruption to a ticket sale for six Taylor Swift shows in France, according to a statement issued by Ticketmaster France. “This morning’s sale was disrupted by an issue with a third-party vendor who is working to resolve the issue as soon as possible,” the company […]
Distribution company and payment platform Stem said on Tuesday it raised $250 million from Victory Park Capital to expand it’s popular advance check product. Stem first started offering the product in 2020 to artists at various career stages, including artists like Justine Skye, who used the capital as bridge financing when transitioning from a major […]
Sacré bleu! Ticketmaster France pressed pause on the presales for four Paris dates and both shows in Lyon for Taylor Swift‘s 2024 European Eras Tour.
“Some of you may be having issues with the site this morning,” the company tweeted on Tuesday morning. “We are working on it and will let you know.”
The four Paris dates at La Défense Arena on May 9, 10, 11 and 12, 2024 were set to go on sale today in two stages, with one sale for May 9 and 10 opening at 9 a.m. local time and another, for May 11 and May 12, due to start at 11 a.m. Sales for the two dates at Lyon’s Groupama Stadium, set for June 2 and 3, were due to begin at 1 p.m.
“We will keep you informed of the new on-sale time as soon as possible,” the company said. “All codes will remain valid.”
As in past presales, fans had to sign up in order to be put into a lottery for code to redeem for a shot at tickets. But shortly after the Paris sale had begun, “winning” fans began having problems and Ticketmaster suspended the presale, citing issues with the site.
Leading up to the sale, the company gave fans an idea of what to expect:
Tickets will be available for purchase via the website for access code holders on July 11, 2023. Tickets will be sold on a first come, first served basis while currently available inventory lasts. It’s a simple, standard purchase process and the steps below will help you navigate your search and purchase.
If you are selected to receive an access code, you will receive an email and two SMS messages the afternoon before ticket sales begins on July 11 2023
The messages will include timing details and a link to where the on-sale will occur, and your unique access code.
Prepare for the sale by creating your customer account in advance if you don’t already have one. Sign-in to your Ticketmaster Account in advance. Know your Ticketmaster password, or reset your password in advance. For a faster checkout, make sure you have a valid credit card with updating billing information in your account.
The company did not respond to a request for details on the nature of the site outage.
Though “July 11” won’t carry the same stain as “Nov. 15” — the date Ticketmaster’s site buckled under the weight of millions of Swift fans trying to purchase initial U.S. Eras Tour dates — it remains another botched sale for a Swift sale for the ticketing giant.
Last week, Swift announced an additional 14 dates for her European trip next year, with Paramore opening all dates. Swift’s Eras Tour launched in Glendale, Arizona on March 17. She plays two nights at Denver’s Empower Field this weekend before heading to Seattle and the San Jose area later in July.