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In a new open letter signed by Elon Musk, Steve Wozniak, Andrew Yang and more on Wednesday (March 29), leaders in technology, academia and politics came together to call for a moratorium on training AI systems “more advanced than Chat GPT-4” for “at least 6 months.”
The letter states that “AI systems with human-competitive intelligence can pose profound risks to society and humanity,” including the increased spread of propaganda and fake news as well as automation leading to widespread job loss. “Should we develop nonhuman minds that might eventually outnumber, outsmart, obsolete and replace us? Should we risk loss of control of our civilization?” the letter asks.
By drawing the line at AI models “more advanced than Chat GPT-4,” the signees are likely pointing to generative artificial intelligence — a term encompassing a subset of AI that can create new content after being trained via the input of millions or even billions of pieces of data. While some companies license or create their own training data, a large number of AIs are trained using data sets scraped from the web that contain copyright-protected material, including songs, books, articles, images and more. This practice has sparked widespread debate over whether or not AI companies should be required to obtain consent or to compensate the rights holders, and whether the fast-evolving models will endanger the livelihoods of musicians, illustrators and other creatives.
Before late 2022, generative AI was little discussed outside of tech-savvy circles, but it has gained national attention over the last six months. Popular examples of generative AI today include image generators like DALLE-2, Stable Diffusion and Midjourney, which use simple text prompts to conjure up realistic pictures. Chatbots (also called Large Language Models or “LLMs”) like Chat GPT are also considered generative, as are machines that can create new music at the touch of a button. Though generative AI models in music have yet to make as many headlines as chatbots and image generators, companies like Boomy, Soundful, Beatlab, Google’s Magenta, Open AI and others are already building them, leading to fears that their output could one day threaten human-made music.
The letter urging the pause in AI training was signed by some of AI’s biggest executives. They notably include Stability AI CEO Emad Mostaque, Conjecture AI CEO Connor Leahy, Unanimous AI CEO and chief scientist Louis Rosenberg and Scale AI CEO Julien Billot. It was also signed by Pinterest co-founder Evan Sharp, Skype co-founder Jaan Tallinn and Ripple CEO Chris Larsen.
Other signees include several engineers and researchers at Microsoft, Google and Meta, though it notably does not include any names from Open AI, the firm behind the creation of Chat GPT-4.
“This does not mean a pause on AI development in general, merely a stepping back from the dangerous race to ever-larger unpredictable black-box models with emergent capabilities,” the letter continues. Rather, the industry must “jointly develop and implement a set of shared safety protocols for advanced AI design and development that are rigorously audited and overseen by independent outside experts.”
The letter comes only a few weeks after several major organizations in the entertainment industry, including in music, came together to release a list of seven principles, detailing how they hope to protect and support “human creativity” in the wake of the AI boom. “Policymakers must consider the interests of human creators when crafting policy around AI,” the coalition wrote. “Creators live on the forefront of, and are building and inspiring, evolutions in technology and as such need a seat at the table.”
YouTube global head of music Lyor Cohen is being honored with the City of Hope’s 2023 Spirit of Life Award, the cancer research and treatment organization announced Wednesday (March 29). The award will be presented at a gala dinner Oct. 18 at the Pacific Design Center in Los Angeles.
“City of Hope is proud to honor the notable contributions of Lyor Cohen and celebrate 50 years of philanthropic partnership with the Music, Film and Entertainment Industry group,” said Robert Stone, City of Hope CEO and Helen & Morgan Chu CEO distinguished chair, in a statment. “This collection of industry leaders has made extraordinary contributions to our mission and continues to enhance our ability to deliver tomorrow’s breakthrough innovations today. We look forward to partnering with Lyor and the larger music community in the years ahead to develop new cures and save patient lives.”
Cohen started his career as a road manager for Run-D.M.C. and the Beastie Boys before moving on to executive leadership roles at companies including Def Jam, Warner Music Group and 300 Entertainment, which he co-founded in 2012. Cohen joined YouTube as global head of music in 2016. He sits on the board of the Rock and Roll Hall of Fame and the National Independent Venue Association and is an acting director for the New York-based charity SCAN-Harbor.
“If you have the opportunity to give a gift back to the industry you love, with an organization like City of Hope, whose doctors and scientists’ passion for helping others is so extraordinary, it’s a no-brainer,” said Cohen. “My career has been shaped by a contrarian point of view. Open to making mistakes, making big bets, unpopular decisions and being comfortable with change; that is how culture shifts and how breakthroughs happen. To me, these are many of the same qualities that make City of Hope’s mission to transform the future of cancer care across all communities so impactful. I am honored to join this admirable group of Spirit of Life recipients and look forward to continuing the tradition of leaning on music to bring us together.”
Wednesday’s announcement kicks off a year-long fundraising initiative for City of Hope that includes such events as the Taste of Hope wine dinner and auction on May 17 in New York City, the Music Trivia Bowl on July 20 in Los Angeles and the annual Songs of Hope event.
Evan Lamberg, president of Universal Music Publishing Group North America and president of City of Hope’s Music, Film & Entertainment Industry board, added that the board is “thrilled” to honor Cohen: “In addition to Lyor powering American Hip Hop as a cultural and musical phenomenon, I have known him to have a big heart and passion when it comes to helping others. This is certainly a prime example of that as he now takes an incredible step in helping City of Hope fight cancer, diabetes and HIV.”
Previous recipients of the Spirit of Life Award include Republic Records co-founders Monte and Avery Lipman, Universal Music Group chairman/CEO Lucian Grainge, Epic Records chairman/CEO Sylvia Rhone and former Greenberg Traurig attorney Joel Katz.
As a kid, I dreamed of being a unicorn. Now that I am one, I recognize I’m just one of the herd. When I gaze at festival lineups, skirt cables backstage, log onto Zoom meetings with labels or give the post-COVID elbow bump before settling down for an in-person, women are still scarce. We make up a fraction of the music industry, both in presence and recognition. However, we are here and always have been.
The world of jazz is a microcosm within the industry, but it mirrors the greater whole. While the majority of celebrated titans are men, the smattering of women in the pantheon are often finely coiffed, smiling behind mics and backed by an entirely male band. However, people need to take a closer look. For example, Louis Armstrong wouldn’t be an international icon without wife Lillian ‘Lil’ Hardin Armstrong. She was a celebrated pianist, composer/arranger, bandleader and singer in her own right long before taking Louis under her wing. Yet, few know her name.
There are countless other women in front of and behind the scenes who remain obscured, despite the valuable contributions they’ve made to the music and business. How do we bring the overlooked to center stage and expand the spotlight? Enter Grammy- and Tony Award-winning singer-songwriter-actress Dee Dee Bridgewater and The Woodshed Network.
Bridgewater launched this artists residency in 2019 with me as co-artistic director and program curator. We‘re steadily building community, providing support and educating cohorts of women in jazz. The annual 10-day program (Feb. 27-March 10 this year) is bolstered by a who’s who of women executives, creatives and legends including Sheila E., Lizz Wright, Regina Carter, Maria Schneider and more. Alumnae are busy topping charts (Lakecia Benjamin’s “Phoenix”), releasing albums (Candice Hoyes’ “Nite Bjuti”) and winning Grammys for arrangements and compositions (Marta Sanchez’s “Unchanged” on Terri Lyne Carrington’s New Standards. Vol. 1).
However, this is just one piece of a very large puzzle. Before you can hold space, you have to create it. The most enduring line from the 1989 movie Field of Dreams can be applied to jazz and the industry more broadly: “If you build it, (s)he will come.” Across the world, various programs are creating spaces for women in all sectors of the industry … and women are joining in droves.
Here are a few tangible examples of those fields plus several accompanying myths that spring to mind. So let’s get down to busting those myths, shall we?
Myth 1: There are no women sound engineers.
Women may make up only 2.1% of engineers, but they’re flipping all the right switches and turning award-winning knobs. Examples: Woodshed mentors Jett Galindoand Grammy winner Jaclyn “Jackie Boom” Sanchez. This dynamic duo has been with the program since its launch, breaking down process, equipment and production in all formats from recording to release. Organizations like Women in Vinyl, SoundGirls and Women’s Audio Mission are also training, supporting and getting gigs for women in sound recording, mixing and mastering.
Myth 2: No women run labels or produce music.
Betty Carter launched BetCar Records in 1970. Dee Dee Bridgewater launched DDB Records in 2006. Jazzmeia Horn launched Empress Legacy Records in 2020. Lizz Wright launched Blues & Greens Records in 2022. All produce and release projects on their own labels with distributors. Some 15% of women in the industry overall run labels, while even fewer produce their own material at 2.6%. Throw in songwriting and they figure into that 12.5%. These are just four examples among countless others.
Myth 3: People don’t care about jazz.
Tell that to the Nice Jazz Festival (founded in 1948, France), Monterey Jazz Festival (f. 1957, USA), Festival International de Jazz de Montreal (f. 1959, Canada), Montreux (f. 1967) and New Orleans & Jazz Heritage Festival (f. 1970). They’re all going strong. Globally, jazz is one of the most sought-after genres. Ella Fitzgerald said it best: “Music is the universal language.” Yet, when you turn up to one of these festivals, only 14% of the headliners are women.
Considering that women comprise over 49% of the world’s population, influence more than 80% of purchases and are set to hold 66% of consumer wealth in the coming years, this is not a demographic to ignore.
Something is amiss.
So how do we fix it?
1. Start at the beginning organizationally and include women.
When Woodshed took the Keychange pledge (the global campaign committed to gender equality in the music industry), we realized that we’d already surpassed the goal line. Women make up 90% of our team and 100% of our mentees, mentors and speakers. We have precisely zero problems finding leaders in every category and facet of the music industry who are women. There is so much pent-up desire to mentor and pay it forward that we have a year’s-long list of women who have approached Woodshed to participate on both sides of the table.
2. Make larger tables and bring folding chairs.
When organizations make it central to their mission to include women, not for tokenism, but in acknowledgment of their contributions, experience and expertise, they’re stronger for it. Echo chambers may be good for vocal effects, but they’re terrible for healthy businesses and communities. A quick internet search yields pages of results for women in various fields of the music industry. Let your fingers do the walking and hire more women in all positions. It’s not a capitulation, it’s a sound investment in your organization’s future.
3. Free the unicorns.
Once individuals and organizations take stock of their own houses, they can look outward to the community. The ripple effect is positive in all aspects. By creating, maintaining and ensuring the health of spaces inclusive of and specifically for women, The Woodshed Network is investing in the future. A thriving jazz community fosters dynamic exchanges of ideas and, in its highest form, democracy. Women belong on the bandstand, behind the scenes, and in C-suites. We’re providing support, resources, visibility … and space. What will you do? It’s time to crossfade into the thundering hooves of unicorns.
Tulani Bridgewater-Kowalski is the founder and president of Bridgewater Artists Management and co-artistic director and program curator of The Woodshed Network.
Sources: USC Annenberg Inclusion Initiative’s “Inclusion in the Recording Studio?” by Dr. Stacy L. Smith, Dr. Katherine Pieper, Hannah Clark, Ariana Case & Marc Choueiti, Jan. 2020. Berklee Institute for Creative Entrepreneurship’s “Women in the U.S. Music Industry: Obstacles and Opportunities” by Becky Prior, Erin Barra, Sharon Kramer, Ph.D. “Music Festivals’ Glaring Woman Problem” by Alanna Vagianos, Huffington Post. “Tracking the Gender Balance of This Year’s Music Festival Lineups” by Rob Mitchum and Diego Garcia-Olano, Pitchfork. Keychange PRS Foundation’s “Keychange Manifesto: Recommendations for a gender-balanced music industry”; designed by Ian Robson and Infographics by Jon Stanbrook.
Citing a need to make “hard choices in order to evolve,” Warner Music Group chief executive Robert Kyncl announced on Wednesday a slate of cost-trimming measures that includes a 4% reduction in staff and a reallocation of resources towards tech initiatives and “new skills for artist and songwriter development.”
Kyncl, who took over as CEO earlier this year, said in a staff memo seen by Billboard that approximately 270 people will be let go and that there will also be reductions in open positions and various discretionary spending at the company to “provide us with additional flexibility for our future.”
Affected employees will hear from their managers in the next 24 hours, Kyncl said, adding that the actions are not a “blanket cost-cutting exercise” and that “every decision has been made thoughtfully by our operators around the world, who considered the specific needs, skills, and priorities of each label, division, and territory, in order to set us up for long-term success.”
Read Kyncl’s full memo below:
Hi everyone,
As I mentioned at our first All-Hands meeting last month, I’m committed to direct and honest communication with all of you. The music business is filled with new possibilities: more fans are engaging with artists and songs than ever, our reach is enormous, and new business models are constantly emerging. WMG is positioning itself for this new phase of growth at the intersection of creativity and technology.
In my discussions with our leaders across the company, many of them came to the same conclusion – that to take advantage of the opportunities ahead of us, we need to make some hard choices in order to evolve. Consistent with this direction, we’ve made the tough decision to reduce our global team by approximately 270 people, or about 4%. At the same time, we’re reallocating resources towards new skills for artist and songwriter development and new tech initiatives. We’re also reducing discretionary spending and open positions to provide us with additional flexibility for our future.
I want to be clear that this is not a blanket cost-cutting exercise. Every decision has been made thoughtfully by our operators around the world, who considered the specific needs, skills, and priorities of each label, division, and territory, in order to set us up for long-term success. The leader of your division will either be holding a town hall or sending an email to explain more about this path forward.
I’m also acutely aware of how unsettling this can be. Having to say goodbye to talented colleagues is always difficult. For those of you who will be leaving WMG, please know that we’re deeply grateful for your hard work, dedication, and all you’ve contributed to this company. In all territories, except where you are explicitly told there will be a review or consultation period, anyone affected will hear from your leaders, supervisors, or People team reps within 24 hours. I know this transition will be tough, but we’re committed to supporting you during this process.
In times of great disruption in our world and society, artists and songwriters who have something original to say, who rise to the occasion, will resonate the loudest. Equally, the rapid changes in our economy and ecosystem create the conditions and opportunities for innovation and breakthroughs. I learned when I joined WMG that this is a gritty, incredibly resourceful, and highly impactful team that I want by my side every day of the week. We deliver for our artists, songwriters, and labels with laser focus, inventiveness, and care. And now, more than ever, we need to double down on that.
I’ll have more to say about all of this at our next All-Hands meeting, including more details on our plan.
Let’s support each other with empathy and integrity as we work through this process.
Thank you,
Robert
BMI enjoyed a double win Tuesday (March 28) in a federal rate court decision that will increase the royalties the performance rights organizations’ songwriters earn at live events.
The federally adjudicated decision in BMI’s rate case against Live Nation, AEG and the North American Concert Promoters Association (NACPA) awarded a 138% increase in rate to 0.5% of the event’s revenue. It also expands that revenue base to include the full price of concert hall VIP packages and box suites, tickets sold directly to the secondary market and servicing fees received by the promoters.
Previously, the revenue definition only reflected earnings directly from the face value of primary market ticket sales.
The rate and expanded revenue base applies to the period of mid-2018 through Dec. 31, 2022.
On the flipside, Southern District of New York Judge Louis Stanton, who handed down the rate court decision, rejected BMI’s attempt to ditch the historical 10% discount fee that the trade group and its promoters get for helping to administer the license on behalf of BMI. As well, BMI’s effort to expand the revenue base to also include sponsorship and advertising revenue was also rejected.
“This is a massive victory for BMI and the songwriters, composers and publishers we represent,” BMI president Mike O’Neill said in a statement. “It will have a significant and long-term positive impact on the royalties they receive for the live concert category. We are gratified the Court agreed with BMI’s position that the music created by songwriters and composers is the backbone of the live concert industry and should be valued accordingly. Today’s decision also underscores BMI’s continued mission to fight on behalf of our affiliates, no matter how long it takes, to ensure they receive fair value for their creative work.”
“We advocated on behalf of artists to keep their costs down, and managed to hold the increase to less than 1/3 of BMI’s proposed increase,” said a Live Nation spokesperson in a statement. “This will cost the performers we work with approximately $15 million a year spread out over thousands of artists, and cost increases for Live Nation directly are not material.”
Prior to this decision, BMI and the live concert industry have been operating under a license negotiated in 1998 that was renewed twice through June 30, 2013. That agreement called for promoters to pay a performance licensing rate of 0.3% of revenue for concert venues with under 10,000 seats, and 0.15% of revenue for venues with over 10,000 seats. That rate, and the revenue definition that only covered primary market ticket sales, also served as the interim rate until this decision came down today.
AEG did not respond to immediate requests for comment. The NACPA could not be reached for comment.
Kakao Corp. and its subsidiary, Kakao Entertainment, increased their share of K-pop company SM Entertainment to 39.9% from 4.9% after purchasing 1.66 million shares from HYBE. That left HYBE with 54% of its shares in SM Entertainment, according to a Tuesday (March 28) regulatory filing.
HYBE sold its 1.66 million SM shares for 248.8 billion won ($191.8 million), or 150,000 won ($115.62) per share, leaving it with an 8.8% stake in SM Entertainment. HYBE had planned to sell its entire stake, the company said in a Friday filing, but it did not offload all of its shares during Kakao’s tender offer. Now that the battle for control of SM is over, HYBE’s remaining stake in SM is worth less than its purchase price. With Kakao’s tender having expired on Sunday and SM shareholders no longer able to sell at a premium, SM’s share price dropped 15% to 91,100 ($70.23) won on Monday and improved slightly to 94,300 won ($72.70) on Tuesday.
SM Entertainment, home to such K-pop acts as NCT-127 and Red Velvet, is partnering with Kakao Corp. and Kakao Entertainment to expand globally as it reorganizes following a split with its founder, Lee Soo-man. Kakao Entertainment owns K-pop group Monsta X’s label, Starship Entertainment, as well as the Korean music streaming platform Melon.
HYBE acquired about 3.5 million SM shares from Lee at 120,000 won per share, according to a Feb. 10 regulatory filing. After flirting with a campaign to take board seats and some operational control in SM, HYBE changed course and conceded to Kakao on March 13. “Proceeding with a higher tender offer [to beat Kakao’s bid] may have in turn caused a negative impact on our shareholders and we also judged it may have further overheated the market,” HYBE said in a statement at the time. The company had hoped to acquire an additional 25% stake in SM at 120,000 won ($92.51) per share, but its tender offer fizzled and increased its stake from 14.8% to just 15.8%.
Sixty miles outside Taking Back Sunday‘s gig at the Mohegan Sun Arena in Uncasville, Conn., last July, the alt-rock band’s driver woke up and informed tour manager Andrew Sprague: “Bus can’t move.” The bus company’s fleet was too depleted to supply a backup, so Sprague spent a day securing transportation for 12 musicians and crew, some of whom hitched a ride on touring mate Third Eye Blind’s bus.
But 2023 is different, Sprague says: “Fingers crossed, everything’s moving a little bit better.”
Personnel shortages and supply-chain issues continue to plague the touring industry, but as 2023 shapes up to be a gigantic year, with stars like Taylor Swift, Drake, Beyonce, Bruce Springsteen and The Cure selling out shows, bands and managers are noticing an economic tension release from the COVID-19 pandemic. “It’s been full-tilt since April of 2022,” says Brent Dannen, studio general manager for Rock Lititz, the 96-acre Pennsylvania campus where artists rehearse and prep for major tours. “Certain supply-chain issues are not like they were pre-pandemic — we’re not back to that yet. But they have improved since this time last year.”
Robert A. Roth, a rental representative for Christie Lites, the lighting company that works with stadium stars such as Bad Bunny and Karol G, is even more upbeat, although he acknowledges freight costs remain “elevated” above 2019 levels. “If somebody’s looking for a doom-and-gloom outlook, you need to look somewhere else,” he says. “Are things more expensive than they used to be? Yes. Demand is high. Challenges remain. [But] things are improving.”
One reason for concert-business optimism is that touring artists, crews and vendors have adapted to challenges like bus-driver shortages and being forced to procure hard-to-find parts from international factories.
Hemphill Brothers, the Nashville bus-rental company that specializes in concert tours and has worked for artists like Janet Jackson and Mötley Crüe, spent the past year and a half training 60 full-time drivers and stocking up on hard-to-find tires. And bands have learned to book buses farther in advance than usual, sometimes 14 months before a tour begins. “In ’21, we were doing a lot of things for smaller acts,” says Joey Hemphill, Hemphill Brothers’ co-owner, chairman and treasurer. “Now the monster tours are back.”
Finding qualified tour personnel remains a struggle. John Benjamin “JB” Brubaker, lead guitarist for August Burns Red, says a key lighting director recently departed the band’s tour for “some bigger accounts,” but they were able to find a replacement. Michele Abreim, who manages Pierce the Veil, adds that the metal band has given raises to all of its crew members since a tour last September, with high-demand guitar and drum techs being especially expensive. “Normally, our crew is with us a longer period of time before we give pay bumps,” she says.
Rhino Staging, which supplies thousands of staff and crew for live-entertainment events, has aggressively trained workers over the past two years. According to CEO Jeff Giek, it’s still challenging to find people for specialized concert-production work like stage rigging – but new employees are slowly filling the spots. He adds that Rhino has turned down more work over the last 18 months than it has in the last 30 years, but that tours have not had to scale back dates or production due to lack of personnel. “There’s some sex appeal to working in the music business. We’re better off than some of the other industries — I have friends who have cleaning businesses or are in the restaurant business, and they’re really struggling,” Giek says.
Bands are still frustrated that supply-chain issues, due to lingering pandemic shipping delays and factory shutdowns after the Russian invasion of Ukraine, still translate into parts shortages. August Burns Red’s lighting fixtures require cooling fans that have been on back-order for weeks: “It’s just dead equipment sitting in the back of the tour bus,” Brubaker says. Pierce the Veil ordered new guitar cases months ago, but they won’t be ready for the band’s tour, which begins later this month in Mexico. “We’ll sometimes start a tour without everything we need,” Abreim says.
Some economic, logistical and emotional issues remain insurmountable for touring acts — especially in Europe, which, Brubaker says, is “extremely expensive” given high oil and gas prices. “It’s definitely still an issue,” adds Bob McLynn, who manages Miley Cyrus, Green Day, Fall Out Boy and others. “Costs are very high. It’s more difficult than it’s ever been. We had an act do a sold-out theater tour [in] Europe, came back, $60,000 loss on the tour. It’s brutal.”
Lorde, one of McLynn’s clients, wrote last fall of “truly mind-boggling” freight costs, crew shortages, overbooked trucks and other factors that created an “almost unprecedented level of difficulty.” Still, Lorde’s own international tour, which began last April, has achieved what McLynn calls her “greatest success ever, as far as ticket sales.” For 2023, many artists playing top venues say they’re seeing similarly high numbers, including rapper Key Glock, who has sold between 48,000 and 60,000 tickets for a tour of mid-size theaters that started in early March.
“It’s almost 100% back to normal,” says Kyle Carter, Key Glock’s agent. “You’re seeing a lot more of these bigger shows go out — the Beyonces, the Drakes. They’re able to do the shows they want to do. It’s easier to find buses. It’s easier to find equipment we need.”
This is Signed, a new biweekly column that rounds up artist signings at labels, agencies, management companies and more.
Melanie Chisholm, better known as Melanie C aka “Sporty Spice” of the Spice Girls, joined the roster of management company Various Artists for global representation; her U.S. agent at the firm is Matt Luxon. According to a press release, Melanie C has co-written a total of 11 No. 1 singles in the U.K. Her booking agent in the U.S. is Marty Diamond of Wasserman Music, while her booking agent in the U.K. is Alex Hardee, also of Wasserman Music.
Boston rapper Rich Amiri (“Walk In,” “Poppin” featuring Lil Tecca) signed with 10K Projects imprint Internet Money Records, which released his new album, EVOLUTION, on March 17. Amiri is represented by manager Nissim Hershkowits at After Life Presents and MAC Agency for booking.
The Frontmen — a country band comprised of Lonestar‘s Richie McDonald, Little Texas’ Tim Rushlow and Restless Heart‘s Larry Stewart — signed with BMG/BBR Music Group, which will release new music from the band this year in addition to re-recorded versions of the members’ greatest hits outside the group. The trio also signed with Marc Oswald and Charlie Pennachio at Oswald Entertainment Group for management, Kaleb Tooker and Greg Janese at UTA for booking, Don Murry Grubbs at Absolute Publicity and business manager Clyde Bright.
Singer-songwriter Greylan James signed with BMLG Records, which released his brand new track, “Undermine,” on Friday (March 24). He’s also represented by Brandon Morlock, Will Hitchcock and Clinlt Highem at Morrish Highamm Management and Kevin Meads at WME in Nashville.
Lo-fi/R&B/electronica producer/drummer Ian Ewing signed with Nettwerk Music Group, which released his debut EP, Second Summer, on Friday (March 24). Another EP is slated to roll out in April. He’s managed by Paul George at Podwall Entertainment.
Country singer/songwriter Coby Hibbard (“Dying Breed”) signed a development deal with Droptine Recordings, which released his latest song, “Looking Back Now,” in February.
Electronic pop artist Daniel Allan‘s recently launched C-corp Daniel Allan Entertainment — which owns Allan’s IP, streaming, touring and Web3 income — raised a $1 million seed round to support the next stage of his career. The round was led by Coop Records with support from Palm Tree Crew Crypto, Noise DAO, Woodstock DAO and Fire Eyes DAO as well as several angel investors. Allan is represented by manager Delfina Glover and agent Phil Quist at CAA.
Austin-based “swamp-pop”/soul band Shinyribs signed with Hardcharger and Blue Élan Records, which will release the group’s upcoming album, Transit Damage, on July 14. Led by Kevin Russell, the band is represented by manager Rick Pierik at Nine Mile and booking agent Jon Folk at Red 11.
Nashville-based artist Stephen Wilson Jr. signed to Big Loud Records, which released his debut EP, bon aqua. He additionally signed with managers Alicia Jones at ALJ MGMT and Jordy Dettmer at Range Media Partners. His booking agents are Brett Saliba and Lance Roberts at UTA.
Sydney-based producer/multi-instrumentalist Skeleten (born Russell Fitzgibbon) signed to 2MR, which released his latest track, “Teenage of the Year” — a reworking of the song by Lo-Tel. He’s represented by Lucy Beaver of Melange Management; Matthew Thompson is his agent for Australia and New Zealand.
Country singer/songwriter Shelly Fairchild signed with Kill Rock Stars, which released her latest track, a cover of Loretta Lynn‘s “Fist City” with Shamir; she is currently at work on an album. She’s managed by Rochelle Shipman.
Artist/producer Trevor Horn (The Buggles) signed with PPL for the international collection of his neighboring rights royalties. Horn is managed by Paul Crockford at Crockford Management (paul@crockfordmanagement.com).
Australian/English pop artist Mereki signed with BMG, which released her debut solo album, Death of a Cloud, on Friday (March 24). Her project leads at BMG are Cydni Lynott and Ariana Rendon; she’s managed by David Zonshine at DH Systems.
Former The Voice contestant Rachel Mac signed with Capitol Christian Music Group. Mac is managed by Jonathan Sell and Carter Hammond at UEG.
Los Angeles-based artist Lauren Early signed with Danger Collective Records for her debut LP, Don’t Take My Dream Away, which is due out May 10.
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: A court ruling on R. Kelly’s music royalties offers some answers but raises new questions; 50 Cent reaches a deal to end his lawsuit over alleged insinuations that he had penis surgery; Donald Glover defeats a copyright lawsuit over the Childish Gambino hit “This Is America”; Ohio cops sue Afroman for using their images after they raided his home with guns drawn; and much more.
THE BIG STORY: Who Gets R. Kelly’s Record Royalties?
Twice convicted on allegations of sexual abuse and facing decades in federal prison, R. Kelly owes a lot of money to a lot of people. Luckily, a pile of recording royalties are sitting in his account at Sony Music. But who gets first access to them?
In a ruling last week, the Illinois Supreme Court said first dibs belong to Heather Williams, an abuse victim who won a $4 million civil judgment against Kelly in 2020. For procedural reasons, the appeals court said Williams should take priority over Midwest Commercial Funding, a Chicago landlord that’s owed $3.5 million from Kelly over unpaid rent at a local studio space. The court upheld an earlier ruling that had ordered Sony to hand over “any funds currently in Kelly’s royalty account” to Williams, and keep giving her his incoming royalties until the judgment was paid off.
While state high court’s decision offered some important clarity – the Sony account had been frozen for years while the case played out across the appeals courts – it left plenty of big questions unanswered.
-According to the decision, Kelly’s account held $1.5 million in 2020 when Williams initially demanded that Sony hand it over. But how much more money has been accrued since then? And how much is coming in each year? Sony declined to comment on the situation when asked.
-What about Kelly’s criminal victims? Federal judges in New York and Illinois have ordered him to pay more than $500,000 in restitution and fines after he was convicted on sex trafficking, racketeering and child porn charges. Should those victims also get access to the record royalties? Federal prosecutors in Brooklyn and Chicago both declined to comment on the situation.
-Kelly’s lawyers are currently trying to overturn the underlying $4 million judgment for Williams, arguing it was handed down when the singer was stuck in prison and that he was not afforded a proper chance to fight back. Those efforts face an uphill climb, but at the very least could delay any final payments.
-Finally, it’s important to note that last week’s ruling was limited to his record royalties. The extent to which Kelly is still earning money from his compositional rights, and whether he would be able sell those rights for anything other than “fire sale” prices, is an even murkier situation.
For a deeper breakdown of the situation, including access to the Illinois Supreme Court’s entire written decision, go read our full story here.
Other top stories this week…
“ENTIRELY DIFFERENT” – A federal judge dismissed a lawsuit accusing Donald Glover of ripping off his chart-topping Childish Gambino hit “This Is America” from an earlier song by a rapper named Kidd Wes called “Made In America.” The judge said the lyrics were “entirely different” and that the accuser failed to satisfy even basic procedural requirements.
CASE CLOSED FOR 50 CENT – The rapper reached a settlement to end a lawsuit in which he accused a Miami medical spa of exploiting an innocent photo of him to imply that he was a client — and, more startlingly, to falsely suggest that 50 had received penile enhancement surgery as part of his work. No word on the terms of the agreement.
COPS SUE AFROMAN AFTER RAID – The rapper Afroman was hit with a bizarre civil lawsuit from several Ohio police officers, who claim he’s caused them “emotional distress” by using their images after they staged a guns-drawn raid on his home last year that resulted in no criminal charges. The rapper says the case is baseless and he’s planning to counter-sue over damage done to his home.
NFT SETTLEMENT FOR 3LAU – Citing an imminent settlement, a Manhattan federal judge dismissed a lawsuit claiming that the DJ and producer 3LAU refused to properly share the earnings from an $11.7 million NFT auction with a musical collaborator named Luna Aura.
SONY SUES TIKTOK CREATOR – Sony Music Entertainment relaunched a lawsuit against Trefuego (real name Dantreal Daevon Clark-Rainbolt), the creator of a popular TikTok song called “90mh,” over allegations that he prominently sampled a 1986 track by Japanese composer Toshifumi Hinata without “paying a cent.”
NO CHARGES FOR NICK LACHEY – The 98 Degrees singer avoided criminal charges in Los Angeles in connection with a paparazzi run-in last March, in which he allegedly reached into a photog’s car and attempted to grab her phone. Under a deal with prosecutors, Lachey agreed to attend anger management classes and Alcoholics Anonymous meetings.
Primary Wave Music has acquired the artist royalties of late Lynyrd Skynyrd founding member and drummer Bob Burns, whose credits include recordings on the band’s first two albums, 1973’s (Pronounced ‘Lĕh-‘nérd ‘Skin-‘nérd) and 1974’s Second Helping, plus subsequent compilations that those tracks appear on. While exact terms of the deal were not disclosed, the company said it was a multi-million deal.
In the U.S., the Southern rock band’s entire catalog has averaged 666,000 album consumption units over the last three years, according to Luminate. Of that, the band’s Second Helping album accounted for almost 182,000 units over that time period, while the historical data for the first album was unavailable from Luminate at press time. Those albums include many of their signature songs, namely “Free Bird,” “Sweet Home Alabama,” “Gimme Three Steps,” and “Simple Man.”
“Lynyrd Skynyrd’s first two albums are timeless and are celebrated to this day,” Primary Wave Music’s svp of business & legal affairs Samantha Rhulen said in a statement. She goes on: “To have Bob Burns’ contribution to this iconic music as part of our catalog is an incredible honor and the team at Primary Wave will ensure that his legacy is recognized by generations to come.”
Burns died in a car accident on April 3, 2015 in Cartersville, Ga. at the age of 64. The band’s last surviving original member, Gary Rossington, died earlier this month at 71.
According to Luminate, Skynyrd has garnered 27.1 million album consumption units in the U.S. According to the Primary Wave announcement, the band has been ranked on several best-of lists, including Rolling Stone‘s “100 Greatest Artists of All Time” — and in 2006, they were inducted into the Rock & Roll Hall of Fame.
Primary Wave continues to be a leading buyer of legacy rock and R&B. In the last six months, it has acquired entirely or an interest in the publishing and/or recording artist royalty income streams in the catalogs of Doors members Robby Krieger and Ray Manzarek, punk icon Joey Ramone, songwriter and E Street Band member Stevie Van Zandt, and Huey Lewis and The News.