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Just two years shy of its 60th birthday, Guitar Player magazine will cease publication of its print version and go digital only, its editor has announced. The 58-year-old magazine dedicated to guitars, gear and the musicians who play and love them, publishes its final print issue this week with Jimmy Page on the cover. “What better way to wrap up our history than to have [the rock legend] help us do what we’ve always done best — bring you the finest interviews with your favorite players,” wrote Christopher Scapelliti, who’ll stay on as digital editor.
Founded in 1967 by Bud Eastman, Guitar Player was the first publication dedicated solely to all things guitars. It went on to inspire other singularly-focused magazines like Bass Player and Keyboard, as well as axe-specific competitors like Guitar World, Premier Guitar, Guitarist and Guitar for the Practicing Musician (RIP). The magazine is owned by Future US, an NYC-based publisher with other titles including PC Gamer, Electronic Musician and Guitar World.
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In his final editorial for the magazine, Scapelliti acknowledged the challenges faced by the print edition, citing the seismic shift of advertisers to preferring online platforms as a key factor.
“The ‘why’ will be obvious even if you don’t keep each issue tucked away chronologically on shelves,” he wrote. “These increasingly slim volumes demonstrate our almost heroic efforts to persist in an era where advertisers find greater opportunities online. Throughout the ups and downs of these years, we’ve appreciated the support of those readers and advertisers who have kept Guitar Player’s print edition a going concern.”
He also expressed gratitude to readers and advertisers who supported the magazine through its ups and downs, and said subscriptions would automatically be transferred to Guitar World unless a refund is requested.
Scapelliti also thanked colleagues, including managing director Stuart Williams, content director Scott Rowley, and head of design Brad Merrett, as well as art editor Philip Cheesbrough and music editor Jimmy Brown, and expressed deep appreciation for the writers and editors who contributed to the print magazine’s longevity.
“While longtime readers will lament this change, there’s much more to come in Guitar Player’s future,” Scapelliti said. “As for this final issue, what better way to wrap up our history than to have Jimmy Page help us do what we’ve always done best — bring you the finest interviews with your favorite players.”
A powerful Canadian executive is making a move to Live Nation Canada.
Melissa Bubb-Clarke is leaving her role as senior vp of music & live events at Maple Leaf Sports and Entertainment (MLSE) for a leadership role at the juggernaut promoter. She’ll serve as chief commercial officer at Live Nation Canada, leading the company’s commercial business in the country.
Bubb-Clarke worked closely with the Live Nation team while overseeing entertainment programming at MLSE, which included high-profile concerts at Toronto’s Scotiabank Arena promoted by Live Nation.
It’s a full circle moment for Bubb-Clarke, who previously worked at Live Nation as regional vp of marketing and later vp of client services.
“I am so excited to join the Live Nation Canada team as Chief Commercial Officer,” Bubb-Clarke tells Billboard Canada. “It’s such an exciting time in the live music space, I couldn’t be more thrilled to have the opportunity to help grow the business further and work with the best team in the biz.”
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Wayne Zronik, president of business operations at Live Nation Canada, notes consumer demand for live entertainment and experiences is at an all-time high, necessitating a leader who can optimize that growth. “Melissa brings an impressive track record, and we are beyond delighted to be welcoming her back into the Live Nation Canada family,” he says.
Bubb-Clarke was on the Leaderboard as one of Billboard Canada‘s top 10 Power Players this year for her work at MLSE.
She also shared career wisdom as part of the Billboard Canada Women in Music’s Industry Spotlight: “A career, in my experience, is not linear,” she said at the time. “I have accelerated, paused, and taken steps ‘back’. Sometimes it was because different parts of my life were the priority and sometimes it was just the ebb and flow of opportunity. Stick with it, keep going.”
With Live Nation opening a new stadium in Toronto next year — just in time to welcome Oasis on their reunion tour — Bubb-Clarke will have plenty to keep her busy in the new role. – Rosie Long Decter
Shaboozey Ties Record for Most Weeks at No. 1 on the Billboard Canadian Hot 100 with ‘A Bar Song (Tipsy)’
Shaboozey has made history on the Billboard Canadian Hot 100.
On the chart for the week of Oct. 12, the Virginia singer ties the record for most weeks at No. 1. His country hit “A Bar Song (Tipsy)” has now spent 19 weeks in the top spot, a run only matched by Lil Nas X and “Old Town Road.”
If Shaboozey can hold on one more week, he’ll break the record, marking the first time that a song has spent 20 weeks atop the chart since its launch in 2007.
“A Bar Song” first hit No. 1 back in May and dominated all summer, with brief interruptions by Eminem‘s “Houdini” and Morgan Wallen and Post Malone‘s “I Had Some Help.”
Shaboozey’s road to No. 1 has been building since he first gained momentum in 2018 with his track “Start a Riot,” featured on the Spider-Man: Into the Spider-Verse soundtrack. He got a big boost earlier this year from Beyoncé when he featured on two songs off her country opus Cowboy Carter.
That album came out March 29 and “A Bar Song” dropped just two weeks later on April 12, which made the timing ripe for Shaboozey to climb the charts in his own right. “A Bar Song” first hit No. 1 on Billboard‘s Hot Country Songs chart on May 5, following Beyoncé’s “Texas Hold ‘Em,” and marking the first time two Black musicians topped the chart in a row.
A Bar Song” hit No. 1 on the Canadian Hot 100 the week after, two months before it reached No. 1 on Billboard‘s U.S. Hot 100 in July.
Last month, Billboard Canada presented Shaboozey with a plaque at his Toronto concert to honor his chart achievement. – RLD
Three Days Grace Reunites With Original Singer
Popular Canadian hard rock band Three Days Grace has announced the official return of its original singer Adam Gontier, with Matt Walst remaining as a lead vocalist. Gontier recently surprised fans during a performance in Nashville.
Following the announcement of their reunion, the band has booked an upcoming tour as direct support for Disturbed on their The Sickness 25th anniversary tour. The 12-date tour runs from Feb. 25-March 21, 2025, and includes stops at Montreal’s Bell Centre and Madison Square Garden in New York.
Since 2003, Three Days Grace has scored five charting hits on the Billboard Hot 100, four No. 1s on the Mainstream Rock Airplay chart and three No. 1s on the Alternative Airplay chart. The band consistently averages 13 million monthly listeners on Spotify and boasts over 5 billion combined streams. – Kerry Doole
Deryck Whibley of Sum 41 Details Alleged Sexual Abuse By Former Manager Greig Nori
Sum 41‘s Deryck Whibley has detailed allegations of abuse against former manager Greig Nori.
Whibley’s new memoir, Walking Disaster: My Life Through Heaven and Hell, features Whibley’s descriptions of sexual coercion and verbal abuse at the hands of Nori when Nori was in his 30s and Whibley was a teenager.
Nori fronted the pop-punk band Treble Charger and mentored a host of rising Canadian bands in the early 2000s. He denies the allegations and has retained a defamation lawyer, The Globe & Mail reports.
Whibley met Nori when he was 16 and Nori was 33. He writes that Nori first kissed him while the two were on drugs when Whibley was 18 and that Nori would go on to pressure Whibley into sexual activity. Nori lashed out when Whibley resisted, Whibley writes, claiming Whibley “owed” him.
Whibley describes Nori as exerting complete authority over his career. “Greig had one requirement to be our manager — he wanted total control,” he writes. “We couldn’t talk to anyone but him, because the music business is ‘full of snakes and liars’ and he was the only person we could trust.”
Eventually, Whibley says, he disclosed the sexual pressure to his girlfriend and eventual wife, Avril Lavigne, who told him it was abuse. After a mutual friend of Nori and Whibley learned of the alleged abuse, Whibley says, the sexual pressure stopped, but Nori was still verbally aggressive.
Whibley claims Nori also insisted on receiving songwriting credits for songs he didn’t help compose.
Sum 41 fired Nori after releasing and touring their third full-length, 2004’s Chuck.
In an interview with The Toronto Star, Whibley said he welcomes a legal challenge from Nori.
“If he wants to challenge it, I welcome that,” Whibley said. “Let’s go to court. Let’s go under oath. That would be f — king great! I welcome that part. Let’s get into discovery. I’ll have my lawyers grill you. They can grill me all they want. I mean, that would be f — king perfect! Finally, let’s get it on record!” – RLD
Time to drop the needle on the latest Executive Turntable, Billboard’s comprehensive(ish) compendium of promotions, hirings, exits and firings — and all things in between — across music.
Read on for mostly good news and also check out Billboard‘s annual list of music’s highest compensated executives, plus our weekly interview series spotlighting a single executive, our helpful calendar of notable events, and have you ever wanted to look at tchotchkes inside the office of an executive while reading their in-depth answers to the most important questions facing the biz? From the Desk Of is probably your jam.
Sphere Entertainment announced the departure of David Byrnes, the company’s executive vice president, chief financial officer and treasurer. Byrnes will remain in his role during a transition period while the company searches for a new CFO. The NYC-based media executive has been Sphere’s finance lead since January of this year and held that same position at MSG Entertainment before that. During his tenure at Sphere and MSG, he has played a key role in major transactions including the spin-off of MSG Entertainment, the sale of a majority interest in Tao Group Hospitality, and two stock offerings. Byrnes joined MSG following a nearly 14-year run in senior roles at CBS (and later ViacomCBS), rising to executive vp of corporate finance and then exiting prior to the company’s name change to Paramount Global in early 2022. Byrnes has not announced his next move.
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Sphere Entertainment, which opened its spectacle-invoking Las Vegas venue in September 2023 with U2’s residency, has since hosted live-wired artists including Phish, Dead & Company and current residents Eagles (they play tonight and tomorrow), and multimedia shows like Darren Aronofsky’s Postcard from Earth. During its fiscal year ending June 30, Sphere reported $273.4 million in revenue and full-year revenue of $1.03 billion, nearly double the prior year’s $573.8 million.
Meanwhile…
BMG appointed Melanie McAllister as its global chief human resources officer (CHRO), effective Nov. 1. Reporting to CEO Thomas Coesfeld, she will join the executive board and oversee key HR functions across 20 offices, including hiring, performance, development, DE&I and aligning HR strategies with overarching business goals. McAllister brings extensive experience from her previous roles as Chief People Officer at EasyPark Group and Megaport, and nearly a decade as Chief HR Officer at Arvato. She has also held senior HR positions at Oracle and other global tech firms and holds a Master’s in Strategic HR from Liverpool JM University and serves on the board of ENABLE Trust. Coesfeld expressed enthusiasm for McAllister’s role in shaping BMG’s future, adding “Her expertise, vision, and proven track record of combining innovative thinking with people excellence will have a transformative impact on our company.”
Johnny Pinchard was promoted to head of A&R at Believe UK, advancing from his role as senior A&R Manager. Reporting to Malena Wolfer and Panos Polymatidis, he’ll continue working from the London office. Since joining Believe from RCA Records in 2021, Pinchard has signed notable artists like Sea Girls, who reached No. 4 on the UK Albums Chart, and rapper Blanco, who has earned over 140 million streams in less than a year. He also signed Grammy-nominated electronic artist HAYLA, who won Vocalist of the Year at the 2024 EDMA’s. Pinchard is committed to developing new talent, including Sainte, Leon Vynehall, Grace Davies, and Sevdaliza. Believe UK Managing Director Alex Kennedy praised Pinchard as being “absolutely vital in identifying, signing and developing a wide range of artists that have formed the cornerstone of our success and that fit the Believe ethos perfectly.”
Jessica Vaughn
Raedio appointed Jessica Vaughn as vp of creative synch sales, a new role at the audio company. Vaughn will lead efforts to expand Raedio’s music library and sync services, aiming to deliver “Audio Everywhere.” Her responsibilities also include developing growth strategies for Raedio’s one-stop music library and collaborating with industry partners to secure music placements across film, television, advertising and gaming. Outside of her day job, Vaughn is a veteran singer-songwriter who gained attention in the late aughts as Charlotte Sometimes, releasing her debut album on Geffen and appearing on the sophomore season of The Voice. She now performs and records under the name LACES. In 2023, Vaughn penned a guest column for Billboard advocating for more creatives joining executive ranks across the industry.
Canvas Music onboarded former Spotify UK & Ireland managing director Tom Connaughton as partner and senior advisor of the independent boutique distributor. Connaughton joins to support Canvas Music’s mission of offering artist-centered, indie label-like distribution services. Canvas was launched in 2020 by Richard Lyne, who said the company’s goal is to “provide a great service with a great product but with more focus and less volume.” Connaughton expressed excitement about joining and highlighted the potential of Canvas to bride the gap between artists, tech and audiences in a “fair, artist-centered way.” Connaughton hit the exits at Spotify in late 2023 after five years in leadership roles at the streaming giant. Prior to Spotify, he served in various roles at Vevo.
Ineffable Records appointed Sage Ressler as head of synch, effective immediately. Ressler previously worked at Spirit Music Group, where she negotiated licensing deals and secured placements across a plethora of media formats. At Ineffable, she will work with marquee artists across the reggae, indie and Caribbean music spaces, including Sean Paul, Sublime, Govana, Protoje and Bob Marley: One Love star Hector “Roots” Lewis. Ressler will lead the label’s first formal synchronization department, which will focus on securing high-profile placements for the label’s catalog across film, TV, advertising, gaming and more. “The opportunity to help shape and lead the synch department feels like a natural next step for both myself and the company,” said Ressler. “Synch has become a uniquely powerful tool for storytelling, and it’s opening doors for artists in ways we’ve never seen before.” –Kyle Denis
NASHVILLE NOTES: Opry Entertainment Group promoted Jordan Pettit to vp of artist relations and Jenn Tressler to director of artist and industry relations. Pettit, who joined OEG in 2018 and has been instrumental in initiatives like Opry NextStage, will now lead OEG’s artist relations team, developing programs to strengthen artist and fan connections. Tressler has built strong industry relationships since joining OEG in 2020 and will continue to focus on creative artist engagement strategies, especially for the Grand Ole Opry … Rachel Derosia has been promoted to senior vp of comedy at Outback Presents. She’ll work with co-CEO Brian Dorfman and co-svp Joel Bachkoff to expand the division. The Rochester, NY native started her professional career in music, working at Sony Music before shifting to comedy at Zanies Comedy Club, later joining Outback Presents as a coordinator. She has managed and produced numerous tours, helping comedians transition from club to theater-level performances … Chandler Thurston joined Position Music’s A&R team as the first hire for their new Nashville office. Previously, he was senior creative director at Anthem Entertainment, managing talents like Jamie Paulin and Meghan Patrick, and overseeing hits such as Florida Georgia Line’s “Talk You Out of It.” Before Anthem, Thurston worked at Major Bob Music, where he helped sign and develop writers like Alysa Vanderheym. He’ll be based at Position Music’s Nashville office, set to open in Q3 of 2025.
Jaime Kelsall joined Paladin Artists, effective immediately, reuniting with former colleagues from APA and The Agency Group. Based in Los Angeles, Kelsall brings over 20 years of experience, having represented clients like Dionne Warwick, Fitz and the Tantrums, ZZ Ward, and Michelle Branch. She began her career as an intern at the House of Blues in New Orleans, later working at Absolute Artists Agency in San Francisco, where she met Paladin partner Bruce Solar. Kelsall then joined The Agency Group in Los Angeles before spending over 20 years at APA. “We are all thrilled have the talented Jaime Kelsall join our team at Paladin,” said Solar. “We are excited to have her continue her journey with us that started so long ago and bringing her expertise and professionalism to our company.”
ALL IN THE FAMILY: Fairchild Media Group, a division of Billboard parent Penske Media Corporation, promoted Jim Fallon to chief content officer for WWD and FMG. Fallon, with 45 years of industry experience, will oversee editorial and content creation for FMG’s brands, including WWD, Beauty Inc, Sourcing Journal, and Footwear News. Reporting to CEO Amanda Smith, Fallon will focus on enhancing brand positioning, expanding audiences, fostering collaboration, and developing new editorial products. Fallon previously served as editorial director of Fairchild Fashion Media and held leadership roles at Fairchild Publications, including editor of WWD.
ICYMI:
Eric Wong
Warner Music said Eric Wong will shift from chief marketing officer to the role of global head of A&R, recorded music. He’ll also assume the presidency of East West Records. As part of that transition, WMG’s evp of global marketing Jessica Keeley-Carter has been promoted to chief marketing officer, recorded music … Chris Moncada is promoted to COO at MNRK Music Group … and former C3 Presents promoter Sophie Lobl was named vp of Rolling Stone Live. [KEEP READING]
Last Week’s Turntable: Sweet Relief Makes It Official With Executive Director
Range Media Partners’ Range Music label has signed Disney star Meg Donnelly to a recording contract, the company announced Friday (Oct. 11). The label is distributed through Capitol Music Group and Virgin Music & Artist Label Services.
Best known for her roles in the Zombies film franchise and High School Musical: The Musical: The Series, Donnelly is currently working on new music and released the single “by my heart” on Friday. A press release adds that she has completed her work on the Zombies series after six years.
Range Music partner Jared Cotter, who also co-manages Shaboozey, led the signing.
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“I’ve admired Meg’s talent and tenacity for years, and I’m thrilled to finally have the opportunity to work with her,” Cotter said in a statement. “She is a genre-melding artist that has had multi-format success, and Range Music is uniquely positioned to help her reach superstar status. We’re very much looking forward to being a part of her journey to the top.”
Donnelly was named Radio Disney’s NBT (Next Big Thing) in 2018 and has since performed alongside artists including the Jonas Brothers, Avril Lavigne and Alessia Cara; she also recently opened for Doja Cat. In February, she released the single “title,” a collaboration with the producer Tenroc. Her creative director is Max Pham, who has worked with A-listers including Ariana Grande, Justin Timberlake and Rosalía.
Kasual Kas, who manages Donnelly at Big Wins Only, said the team “chose Range because of their incredible creative team and what they’ve been able to build. It feels really special. Their entire staff felt young, hungry, and really understood the long-term vision for Meg as an artist so it was an easy decision for us. On the business side, Range was also extremely flexible and understood that deals are structured differently now for artists, and they made sure to champion ownership. We were in talks with many labels, but this one truly felt like a partnership and that’s what we always wanted.”
Added Kristina Mazzolla, who also serves on Donnelly’s management team: “Meg is an undeniable superstar, who is so certain in her vision and was willing to hold out until the right partner came along. For Meg, that partner was Range. After the release of ‘title,’ it was clear Range truly understood the path Meg is carving out for herself. The sky’s the limit for Meg and I am excited for the world to experience her as an artist.”
Launched in 2020, the Range Media music division is led by managing partners Matt Graham, Jack Minihan, Tyler Henry, Melissa Ruderman, Chris Thomas, Evan Winiker, Cory Litwin and Shawn McSpadden, along with partners Rachel Douglas, Ace Christian, Joel Zimmerman and Cotter.
Sean “Diddy” Combs will stand trial on May 5 in his racketeering and sex trafficking case, a federal judge ruled at a court hearing on Thursday (Oct. 10).
The order from Judge Arun Subramanian — who replaced Judge Andrew L. Carter as the presiding judge last week and will handle the eventual trial — was issued from the bench and reported by the Associated Press and other outlets.
The trial date is in line with what the rapper’s legal team wanted. In court documents Wednesday (Oct. 9), they said they were continuing to assert his constitutional right to a speedy trial and would be seeking to get the case before a jury in April or May.
Though a trial date is now set, the schedule could still be pushed back, particularly if prosecutors file new charges or add defendants to the case. It could also be delayed if Combs eventually waives his speedy trial right to give his team more time to prepare — a decision that might hinge on whether he’s granted bail in a pending appeal.
When he does stand trial, Combs will face charges of racketeering and sex trafficking over what prosecutors say was a sprawling criminal operation aimed at satisfying his need for “sexual gratification.” The decades-long scheme allegedly involved not only elaborate sexual parties called “freak offs” and other sex abuse, but also forced labor, kidnapping, arson and bribery.
“For decades, Sean Combs … abused, threatened and coerced women and others around him to fulfill his sexual desires, protect his reputation and conceal his conduct,” prosecutors wrote in their indictment last month. “To do so, Combs relied on the employees, resources and the influence of his multi-faceted business empire that he led and controlled.”
Thursday’s hearing came less than 24 hours after Combs’ lawyers accused the government of leaking evidence to the media, including the infamous surveillance video of Combs assaulting then-girlfriend Cassie in 2016.
At Thursday’s hearing, according to AP, Assistant U.S. Attorney Emily Johnson pushed back on those “baseless” claims, saying it was simply an effort by Combs’ lawyers to prevent jurors from seeing the “damning” Cassie video: “Not a single one of those alleged leaks are from members of the prosecution team,” Johnson said.
The next court date for Combs’ case is currently set for December.
Universal Music Group (UMG) has filed a lawsuit claiming Chili’s used more than 60 copyrighted songs from Ariana Grande, Justin Bieber and others on social media without permission, just months after the Beastie Boys accused the restaurant chain of the same thing.
In a complaint filed Tuesday (Oct. 10) in Manhattan federal court, the music giant accused Chili’s owner Brinker International Inc. of willfully using unlicensed music in dozens of promotional videos across YouTube, TikTok, Instagram and Facebook.
“In order to draw the attention of consumers in the fast-moving world of social media, defendants chose to rely on the use of popular music as an integral part of their Chili’s messaging,” UMG’s lawyers write. “But despite this success, defendants have failed to pay plaintiffs for the music that serves as the soundtrack for Chili’s social media ads.”
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In addition to Grande and Bieber, UMG says the videos featured music from dozens of other stars, including Mariah Carey, Lady Gaga, Snoop Dogg, Lana Del Rey, ABBA, Luke Bryan, Travis Scott, Bruno Mars, Lil Nas X, Earth Wind & Fire, The Weeknd and more.
The new case comes less than three months after Chili’s was accused of largely the same thing by the Beastie Boys. In that case, which remains pending, the iconic rap trio accuses the restaurant of using their 1994 smash “Sabotage” online, including in a video that mimicked the song’s 1970s-themed music video.
Social media platforms like Instagram and TikTok provide huge libraries of licensed music for users to add to their videos. But there’s a key exception: The songs can’t be used for commercial or promotional videos posted by brands. That kind of content requires a separate “synch” license, just like any conventional advertisement on television.
That crucial distinction has led to numerous lawsuits in recent years.
Beginning in 2021, all three major labels sued drink maker Bang Energy for using hundreds of copyrighted songs in promotional TikTok videos, with Universal and Sony eventually winning large judgments. In May, Sony filed a case against Marriott over accusations that the hotel chain had used nearly 1,000 of its songs in social media posts. And in July, Kobalt and other publishers sued more than a dozen NBA teams over the same thing.
In Tuesday’s case against Chili’s, UMG argued that a sophisticated company with more than 1,600 restaurant locations would have known that it needed sync licenses to use well-known music in ads — or at least that it should have known.
“Defendants include successful companies promoting multiple restaurant franchises with their own legal departments and protecting their own intellectual property interests,” UMG’s lawyers write. “Despite defendants’ prior history of licensing music from plaintiffs for use in commercials, defendants did not seek to determine which of the videos at issue in this complaint used plaintiffs’ musical works.”
Brinker did not immediately return a request for comment.
A California appeals court has sided with The Offspring in a long-running court case filed by former drummer Ron Welty, rejecting his claims that he was owed millions more from the punk band’s $35 million catalog sale.
Welty’s lawsuit alleged that lead singer Bryan “Dexter” Holland had tried to “erase” his contributions to the Offspring, including by shorting him on the proceeds of the band’s 2015 catalog sale to Round Hill Music. But a Los Angeles judge rejected those accusations last year.
In a ruling Wednesday, California’s Court of Appeals upheld that ruling, saying there had been “no reversible error” in the lower judge’s decision. Welty raised numerous challenges to how the lower judge had handled the case, but the appeals court was not convinced by any of them: “The judgment and order are affirmed.
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Welty joined The Offspring in 1987 and served as the band’s drummer during its heyday, including on its 1998 album Americana that reached No. 2 on the Billboard 200, before leaving the band in 2003 on undisclosed terms.
In his sweeping 2020 lawsuit, Welty accused Holland and the other members of numerous forms of wrongdoing: “This lawsuit seeks, among other things, redress for The Offspring’s failure to pay Mr. Welty his rightful share of the band’s proceeds and a prohibition against their ongoing efforts to harm Mr. Welty, his legacy with the band, and his ongoing career.”
Among other allegations, Welty claimed he had been entitled to a bigger cut of the Round Hill deal, in which the company paid $20 million for the rights to the band’s recorded masters — split among the band’s key performers — and another $15 million for the publishing rights, paid directly to Holland.
Welty claimed he deserved some of that publishing money, and argued in his lawsuit that he was owed at least $2.8 million more from the Round Hill transaction. But at a bench trial in 2022, Judge William F. Fahey largely rejected those accusations, calling some them “completely illogical.” During the proceedings, other members of The Offspring had testified that the structure of the deal was fair since Holland had written all of the band’s music.
In a written decision last year, Fahey ruled that the deal had been “structured in accordance with industry standards” and that Welty had failed to prove that he was entitled to a cut of Holland’s $15 million: “It is hard even to envision a reason why these two other band members would agree to such a structure unless they believed that Holland was the creator and owner of the music compositions.”
In March, the judge issued a final judgment in favor of the band, finalizing the earlier rulings and rejecting the rest of Welty’s claims. It was that ruling that was affirmed by Wednesday’s decision at the appeals court.
Following the ruling, Welty’s attorney, Jordanna G. Thigpen, said her client had “great respect” for the appellate court but was “contemplating the next step of appellate review.” Howard King, an attorney for The Offspring, declined to comment.
As Bad Boy Records founder Sean “Diddy” Combs sits in a Brooklyn prison awaiting trial on federal sex trafficking and racketeering charges and prepares to fend off multiple civil lawsuits alleging sexual assault, those in the music industry are asking how much of his wealth could be at stake.
Sources tell Billboard that the hip-hop mogul has sold many of the assets that earned him hundreds of millions of dollars. And Forbes estimated that Combs’ net worth — once fueled by ventures in music, fashion, liquor and cable TV — has fallen from approximately $740 million in 2019 to $400 million as of this past June.
Federal prosecutors and attorneys for the alleged victims likely will go after the money Combs earned from his businesses and other assets, and his own legal defense potentially could cost him hundreds of thousands of dollars as well. That said, prosecutors will need to prove that the businesses were in some way connected to the alleged crimes, to which Combs has pled not guilty. Lawyers representing individuals suing Combs in civil court do not need to meet that barrier of proof. It is unclear when a jury trial will take place for the federal charges, and the many civil lawsuits he faces are at various stages of adjudication.
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Combs’ attorneys, representatives and federal prosecutors did not respond to requests for comment.
Here is a breakdown of Combs’ current financial picture viewed through his music, real estate and cable TV assets:
Bad Boy Records
While Combs began diversifying his investments long ago, his core music industry holdings have dissipated. He once owned his masters and publishing rights through Bad Boy Records. Currently, he may still own his publishing rights and albums recorded from 2010 onward, but he likely no longer owns the albums he recorded before 2009, which were the most successful of his career.
B.I.G. and Diddy
That’s because of a joint venture Combs entered with Warner Music Group for the entire Bad Boy catalog in 2005. The deal ended in 2009 with WMG retaining full ownership of the vast majority, if not all, of the catalog released by Bad Boy prior to that year. Those include the catalogs of The Notorious B.I.G., Faith Evans, Mase and another dozen or so platinum albums by Bad Boy artists.
In June, Billboard estimated that Diddy’s own catalog brings in $2.4 million annually in recorded masters revenue, as well as $600,000 in publishing revenue, of which his share is $222,000. We estimated his catalog would carry a valuation of $42 million.
Since determining that Combs no longer owns his best-selling albums, Billboard revised that estimate — based on a calculation that almost 60% of his catalog’s annual activity is owned by WMG — to $1.05 million. His music publishing earnings remain unchanged, which adds up to $1.25 million in take home pay.
Catalog
One asset Combs is unlikely to sell soon is his catalog because his the nature of the alleged abuses outlined in the various legal cases he is facing and the fact that recordings were not put out under a single, identifiable brand — he has released music as Puff Daddy, Puff Daddy & the Family, P. Diddy, Diddy and Diddy-Dirty Money — make it harder to market, institutional investors tell Billboard.
While private equity investors have no appetite for music issued under the Diddy names, financial sources say that music from other artists he has worked with still have value, and those artists could sell their income streams. However, some Bad Boy Records artists have asked the various majors if their albums might drop the Bad Boy logo, sources tell Billboard.
In 2023, Combs disclosed that he has been returning ownership of publishing to the artists who recorded on Bad Boy Records. In a Q&A with Billboard, he reported that Mase, Evans, The LOX, 112 and the estate of The Notorious B.I.G. are among the creatives who have already signed agreements to regain those rights.
REVOLT
Co-founded by Combs as a music cable channel in 2013, REVOLT was initially broadcast by Comcast and Time Warner Cable to a combined roughly 34 million subscribers. Over the past decade, it has built a reputation as a prominent black-owned media company and has been profitable since 2018. Last summer it was part of a group of investors bidding for a majority stake in Paramount Global’s BET Media Group. As a private company, it has never disclosed its financials. Combs stepped down from his role as chairman of REVOLT last November, and reports circulated in March that he sold his stake to an anonymous bidder. Sources tell Billboard Combs’ stake likely netted him a sum in the low to mid-eight figures.
Real Estate
It is documented in court documents filed in connection with the federal charges against Combs that Combs owns homes in Los Angeles and Miami. The latter, which is located on Miami’s exclusive Star Island has multiple pools, an on-site spa and a guesthouse was listed as part of his collateral for his $50 million bail bond. (Judge Robyn F. Tarnofsky denied his release, and Combs’ attorneys filed an appeal this week.) Combs’ home in Beverly Hills is currently for sae for $61.5 million.
American roots reggae band Stick Figure decided to conduct an experiment earlier this year when they went on sale with tickets for their Sacred Sands Summer Tour 2024.
Hoping to make their tour as fan-friendly as possible, band leader Scott Woodruff and managers Thomas Cussins and Marina Petros at Ineffable Music Group decided to offer refunds to fans who bought tickets to the tour but couldn’t make the show.
“Given that the tour included numerous large-scale amphitheaters with some of the biggest promoters in the world,” the band had to agree to cover the costs of the refunds themselves, explained Cussins.
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Refunds are rarely allowed in the concert business and promoters have long been loathe to offer money-back options to fans, worried that a rush of last minute refunds could lead to heavy losses for shows that had previously been considered a sellout. But the problem with the “all sale are final” model, Cussins explained, is that fans might be hesitant to purchase tickets when they go on sale if they are worried about their availability months later.
A refund policy might make fans feel more confident about their purchase, explained Cussins who worked with Petros to develop the rules for Stick Figure’s first ever refund policy. In order for the band to recover the cost of the refund and sell returned tickets to new fans, the band required all refund requests be made up to 10 days before a show. In order to prevent scalpers from taking advantage of the refund policy, tickets listed on secondary market sites like Stubhub were excluded from the promotion.
“Enforcing this second rule was challenging, and some tickets intended for resale likely slipped through the cracks,” Cussins said. “However, on the whole, everyone acted in good faith and used this program as intended.”
The band ultimately sold 135,446 tickets for its 16-date Sacred Sands tour and granted 750 refunds, equal to about $77,852.24, or .55% of the revenue generated from 2024 tour.
“These numbers clearly show that this is a successful formula for a band,” Cussins explains. “As this tour was largely sold out, nearly all refunded tickets were resold. Even in the case of a less well-attended tour, this loss would be worth it based on the statistics from our post-tour ticket buyer survey.”
According to the survey, 65% of buyers were aware of the refund policy and of those who were aware, 82.3% said that the band’s refund policy made them feel more comfortable buying tickets.
“There is a strong case to be made that losing less than 1% of tickets later is still worth the overall boost in consumer confidence,” Cussins concludes.
Based on their experience, Cussins noted that promoters, venues and artists could improve the ticketing ecosystem by offering refunds to “verified fans (not resellers) up until 14 days before a show, with the option to extend this to 7 days depending on stakeholder determination,” Cussins says.
That doesn’t mean taking an aggressive stance against resale, but instead allowing the practice “with a few guidelines to avoid abuse” like speculative ticket selling, where a reseller lists a ticket they have not already purchased. Abuse and price gouging can be limited through thoughtful ticket distribution practices and market monitoring, coupled with dynamic pricing models that keep prices affordable on the secondary market, Cussins said.
“Adding the security of a refund option,” on top of the above secondary market reforms, Cussins concludes, “will increase consumer confidence and drive more early ticket sales, which limits risk for bands, venues, and promoters.”
Spotify made its free tier available to listeners in South Korea on Wednesday (Oct. 9). When the streaming service launched in the country in 2021, it only made its subscription option available for music fans.
“We’re opening the door to every Korean listener to start discovering and connecting with millions of songs and podcasts with our technology and service,” Gautam Talwar, general manager, Asia Pacific, for Spotify, said in a statement. That “means huge potential for new audiences, discoverability and ultimately, more revenue for artists.”
South Korea was the seventh largest music market in the world in 2022, according to the IFPI, trailing the U.S., Japan, the U.K., Germany, China, and France. “Countries such as China and South Korea have significant growth of fans paying for streaming,” Shridhar Subramaniam, Sony Music’s president of corporate strategy and market development, Asia & Middle East, told the IFPI. “The paid ecosystem is established, and now the challenge is to look at the value of music on streaming and social media platforms.”
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Talwar said average monthly streams of South Korean artists on Spotify now exceed 5.8 billion. That is “over 70% growth since Spotify’s launch in South Korea three years ago — spanning across K-Pop to Hip-hop, Indie and more — with markets such as the United States, Indonesia, the Philippines, Japan, Mexico, Brazil, Thailand, India, South Korea and Taiwan among the top streamers.” Talwar added. “We are committed to growing and expanding artists’ reach worldwide and the launch of our Free offering in the market will add even more Korean listeners to that mix.”
Spotify added 7 million subscribers in the second quarter of 2024, exceeding its forecasts. It now has more than 626 million total monthly active users, and 246 million subscribers.