State Champ Radio Business
Page: 67
It’s time to drop the needle on another Executive Turntable, Billboard’s weekly compendium of promotions, hirings, exits and firings — and all things in between — across the music business. There’s been quite a bit of staffing news this week, “Da Pope” included, so let’s get to it.
Downtown Music Publishing appointed Jason Taylor as vice president of business development, based in Los Angeles and reporting to chief creative officer Jedd Katrancha. Taylor, who brings prior experience from ICONOCLAST, Hipgnosis Songs Group and Big Deal Music Group, will focus on expanding DMP’s global roster, emphasizing legacy catalogs and B2B partnerships. Additionally, Bea Koramblyum was promoted to global head of business affairs and vice president of business development (GHBAVPBD for short), recognizing her role in strategic dealmaking and catalog growth. A newly appointed chair of the Music Business Association, Koramblyum has been key in deepening industry relationships. These appointments follow a strong year for DMP, including over 30 Grammy noms-noms and notable signings like Peso Pluma and Tori Amos. Katrancha praised both execs, saying “Jason brings a rare blend of creative instinct and commercial acumen, with a track record of cultivating long-term relationships and building enduring catalog value” and that “Bea’s expanded role is a reflection of the leadership and vision she has brought to Downtown for many years.”
Trending on Billboard
The change train keeps a-rollin’ at Audacy, with the departure of longtime chief technology officer Sarah Foss, effective May 2. Foss joined the company (then Entercom) in mid-2020 as chief information officer and helped guide the company through the pandemic. “We innovated. We cut costs. We modernized. We got scrappy. We held virtual planning events. We went back to the office,” she said in her announcement on LinkedIn. Taking over is Steve Rollins, reviving the CIO title, who will oversee all IT and technical operations at the radio and podcast giant. Rollins arrives from Gabstin LLC but he previously served as CIO of SESAC — where he worked with Kelli Turner, who replaced David Field earlier this year as Audacy’s president and CEO. The shakeup at Audacy has also seen the recent departures of CMO Paul Suchman (replaced by Jenny Nelson), COO Susan Larkin, chief digital officer J.D. Crowley, and general counsel Andrew Sutor (succeeded by Michael Dash).
Range Music launched a new composer division, expanding its music management services into film and television scoring. L.A.-based industry veteran Jeff Jernigan joins as the first hire, bringing a roster that boasts Steven Price (Gravity), Tom Howe (Ted Lasso) and Helen Park (KPOP). Jernigan, formerly with Kraft-Engel Management, will represent composers, music supervisors, songwriters and executive music producers, working alongside Leah Cook, Range’s vp of creative sync and strategy. Range already has a strong foothold in music supervision, with clients like Andrea von Forester (Yellowstone) and Jordan Carroll (Dear Evan Hansen), and Jernigan has worked with Range’s film co-presidents Fred Berger and Brian Kavanaugh-Jones on projects like La La Land and A Complete Unknown. “As the first hire for this division, Jeff brings with him a wealth of knowledge, an incredible roster, and vast experience working along our film division,” says Berger and RMP co-founding managing partner Matt Graham.
NASHVILLE NOTES: Country Music Hall of Fame and Museum curator of recorded sound collections Alan Stoker retired at the beginning of the month, exactly 51 years after he started with the institution. His audio preservation and remastering expertise has been applied to recordings by Hank Williams, Patsy Cline and Merle Haggard, among others … Prescription Songs promoted Kelly White to A&R Coordinator. Based in Nashville, she works with artists, songwriters, and producers across Atlanta, LA, and Nashville, including Big Boss Vette and Trent Dabbs. A Belmont University graduate, she recently organized a songwriting camp with Tay Keith’s Drumatized label and plans additional camps to support Nashville’s growing creative community … Christian imprint Centricity Music promoted five longtime team members to senior roles, including John Mays as president of A&R and Camy McArdle and Andrew Lambeth as co-GMs. John Stokes becomes svp of marketing and operations, and Chad Segura is now svp of publishing.
Reliant Talent Agency expanded its talent division with four agents. Scott Simpson has been named as head of talent, to lead Reliant’s Talent, Comedy, Unscripted Television and beyond. Also joining Reliant Talent Agency is Jonathan Perry, who will lead West Coast Talent, alongside talent agent Katie Edwards. Melanie Moreau will lead the Unscripted Department. Industry veterans, president Steve Lassiter and his partners Heath Baumor and Matt McGuire will lead the Nashville-based agency, which had a concentration in concert touring prior to this expansion. The new infrastructure will give the agency talent outposts in Chicago, Los Angeles, Nashville, New York and Tampa. –Jessica Nicholson
WME appointed Alexis Rosenberg as senior director of external relations in its Nashville office, a new role designed to enhance connections with the Nashville business and entertainment communities. Reporting to WME senior partners and Nashville co-heads Becky Gardenhire, Joey Lee and Jay Williams, Rosenberg will work with corporate communications and marketing to foster corporate partnerships, sponsorships and strategic relationships. She will act as a liaison across music, sports, and business sectors, boosting WME’s industry presence and client support. Rosenberg brings over a decade of experience in professional sports, including roles with the NBA’s Orlando Magic and Major League Soccer’s Nashville Soccer Club.
Ralph Torrefranca has been promoted to executive director of writer creative at Angry Mob Music Group, where he has been a key player since 2015. Torrefranca has significantly contributed to the success of hits like “My Fault” by Shaboozey and “She Likes It” by Russell Dickerson. He has also fostered the growth of writers and producers such as Bus and Bailey Bryan. In his new role, Torrefranca will continue to oversee the creative development of Angry Mob’s roster and expand his influence across company projects. He founded The New Normal, an inclusive writing camp that highlights underrepresented voices in music, with over 70% women participation and representation from over 10 cultural backgrounds. Torrefranca is based in L.A. and will continue to report to Angry Mob’s CEO Marc Caruso, who said “his ability to work with and develop relationships that reach the core of who our writers and artists are as humans and creatives is incredibly unique and unlike any other A&R in music publishing.”
RADIO, RADIO: Connoisseur Media acquired Alpha Media, forming a combined company under the Connoisseur name, led by CEO Jeff Warshaw. The new entity will operate 218 stations across 47 markets, covering 20% of the U.S., and rank among the top 10 U.S. radio groups by station count and revenue. The deal, subject to FCC approval, is expected to close in late 2025 … Hope Media Group promoted Jeff Evans to vp of radio, having joined as WayFM Network program director in July 2023. In his new role, he’ll oversee WayFM programming, all program directors, and the creative audio services department, enhancing talent development across the Houston media group’s brands, including WayFM, Vida Unida and the God Listens Prayer App.
444 Sounds, the label services and management firm founded by former HITCO marketing exec Joe Aboud, appointed Izzy Parrell as director of streaming and digital partnerships. Parrell will manage streaming and digital strategies, enhancing the firm’s focus on long-term artist development and fan engagement. Previously at Apple Music, she shaped the platform’s global editorial voice, specializing in viral and pop playlist curation. As part of Apple Music’s global programming team, Parrell worked on Apple Music’s Viral Hits playlist and contributed to the 100 Best Albums list. “I’m beyond excited to join 444 Sounds at such a pivotal moment.” said Parrell “This team is reshaping the future of digital strategy in today’s ever-evolving music landscape, and I’m honored to be part of a mission that champions creativity, culture, and community.”
Tresóna named Jann-Michael Greenburg as president of the specialty licensing company. Greenburg, who has served as vp of business affairs since 2017 and interim president since 2024, brings early-career experience as an analyst for Deloitte UK. Founded in 2009 and based in Scottsdale, Ariz., Tresóna uses proprietary technology to streamline music licensing, ensuring proper rights for performances and recordings. Mark Greenburg, Tresóna’s Founder and Chairman, praised Jann-Michael’s impact on the business and his commitment to fair remuneration for songwriters.
Dynamic Talent International further expanded its Nashville presence with the opening of its new office at 401 Commerce Street. The company has also hired Nashville-based agent Robert Baugh, who will work alongside fellow Dynamic Talent International representatives in promoting artists including Danielle Bradbery, Drew Green and Erin Kinsey. Dynamic Talent International has operated in Music City for the past decade and has been instrumental in the K-pop arena, helping P1Harmony become the first K-Pop act to play at the Grand Ole Opry and aiding K-Pop artists including Mamamoo. –J.N.
Alex Stolls is now partner at Boyarski Fritz LLP, a top music and entertainment law firm where he has worked since 2017. Specializing in entertainment and intellectual property law, NYC-based Stolls represents a high-profile roster that includes the Estate of Maurice White, Lil Kim, Will Smith, JISOO of BLACKPINK, and top producers like Louis Bell and Hit-Boy. He also serves as outside business affairs counsel for companies such as Create Music Group and BMG. His early career included roles at William Morris Endeavor and Cowan, DeBaets, Abrahams & Sheppard LLP. Founding partner Jason Boyarski praised Stolls as a “homegrown success story,” citing his strategic thinking and key role in the firm’s growth.
ICYMI:
Andrew Spencer
AEG promoted Katie Pandolfo from Dignity Health Sports Park to GM of Crypto.com Arena in L.A., effective June 1, succeeding Lee Zeidman … AEG also announced that Andrew Spencer has been named chief operating officer of AEG Presents Europe … EarthPercent, the Brian Eno-founded org taking on climate change, appointed five new U.S. board members … and Sara Nix and Joe Mortimer were named co-heads of creative at Capitol Music Group. [Keep Reading]
Last Week’s Turntable: New Head of Lumineers Label
Rob49 is officially a music executive. The New Orleans rapper has launched his VULTURE MODE record label, which arrives as a joint venture with independent record label and publisher SLANG.
While entering his prime as a rapper in his own right, Rob is looking for the next generation of stars in hip-hop. The label isn’t wasting any time as fellow New Orleans native Moskino is the first artist signed to VULTURE MODE.
“I always knew I would be successful outside of music, but I thought more so as a serial entrepreneur who owns a bunch of businesses,” Rob49 tells Billboard. “But music is something that I naturally gravitate to, and I honestly feel like I have the ear to know who’s the next hot artist.”
Trending on Billboard
He continues: “And with that, I’m surrounded by a bunch of new young talent that is trying to make it out the trenches, so what better way to use my platform than to become a music executive and help bring their careers to life.”
Moskino is gearing up for a busy summer with the release of his King of the Underdogs project slated to arrive on June 6.
“Moski wanted to be a rapper long before I even wanted to,” Rob49 adds of the first rapper joining the VULTURE MODE family. “And I think he’s one of the hardest out of not only New Orleans, but in general. His ability to story-tell while maintaining his own unique sound, creating a new lane with that New Orleans style… It’s something that I think is very different and refreshing.”
Rene McLean
Aviva Klein
Founded by Influence Media’s Rene McLean, SLANG has built a reputation as a reliable creative partner for the likes of Future, DJ Khaled and Will Smith over the years.
“We’ve always believed in building platforms, not just moments,” says McLean. “Partnering with Rob49 to launch VULTURE MODE was a natural step. He represents everything SLANG values, originality, vision, authenticity, and a relentless work ethic. Together, we’re building something that’s not just reactive to culture, but ahead of it.”
As far as his own artistry, Rob49 caught fire with his viral cultural hit “WTHELLY” and is slated to drop another project later this spring.
With tourism to the U.S. on shaky ground and consumer sentiment waning, Sphere Entertainment Co. CEO James Dolan says the Sphere venue in Las Vegas is on sound footing.
“There’s a little bit of Chicken Little going on in our economy,” Dolan said during the earnings call on Thursday (May 8), referring to the children’s fable about unfounded warnings that the sky is falling. “Maybe later we’ll see a more substantive reaction from the marketplace, but right now we’re not really seeing it.”
International guests account for 10% of guests to Sphere’s concerts and “a little over” 20% of visitors to Sphere Experience, the viewings of Sphere’s original content, according to Dolan. Even if Las Vegas experiences a decline in tourism, Dolan believes Sphere will be insulated by strong demand for its state-of-the-art performances. “When it comes to concerts,” he said, “demand exceeds capacity, so we have room to absorb any issues.”
Trending on Billboard
International relations and tariff concerns couldn’t be blamed for the decline in Sphere revenue in the company’s fiscal quarter ended March 31. Instead, it was an issue of fewer events that caused a 12.8% decline in revenue, to $157.5 million, the company’s parent, Sphere Entertainment Co., announced Thursday.
Sphere did show greater operational efficiency in the quarter. Selling, general and administrative expenses fell 12%, and adjusted operating income (AOI) was flat at $13.1 million despite the decline in revenue.
Investors reacted positively, sending shares of Sphere Entertainment Co. as high as $31.43, up 5.5%, on Thursday morning. The share price was up 5.2% to $31.33 in early afternoon trading.
With residencies by The Eagles, Dead & Company and Anyma, Sphere hosted 10 more concerts than the year-ago period. But the Sphere Experience had fewer showings of original content — Postcard From Earth and V-U2 An Immersive Concert Film — compared to the prior-year period. The quarter also had a difficult comparable because Las Vegas hosted the 2024 Super Bowl, which resulted in a record-setting week for Sphere’s advertising, CFO Robert Longer said. Those decreases were partially offset by increases in event-related revenues and the impact of Delta Air Lines’ corporate takeover of Sphere during CES in January.
Total Sphere Entertainment Co. revenue, which includes MSG Networks, fell 13% to $280.6 million. Consolidated AOI fell 25.6% to $36 million. MSG Networks revenue was $123.0 million, down 19% from the prior-year period, which reflects a nearly two-month absence of programming from Altice while the two parties renegotiated a multi-year renewal.
Dolan said he’s confident the company can drive growth this calendar year through “an array of concerts and third-party events,” sponsorships, and driving operational and cost efficiency. While he didn’t provide details on unannounced future residencies, Dolan said Sphere is having discussions with “multiple artists” and has more demand than availability of shows. “The pipeline is very full,” he assured.
EarthPercent, the organization co-founded by Brian Eno that works to take on climate change, has hired five new U.S. board members.
This group includes sustainability consultant and former vp of creative at Kobalt Music Emily Bines, YouTube’s manager of artist partnerships Courtney Marr, Los Angeles city council senior communications advisor Dae Levine, Warner Music Group’s new business & ventures rep Michael Delle Donne and longtime industry exec Harry Poloner, who will be the board’s U.S. chairman. Bines will serve as board treasurer, Levine as secretary and Marr and Dalle Donne as members.
“Music has the power to drive real change, and at EarthPercent, we’re using that power to take action on the climate crisis,” Poloner tells Billboard. “I’m honored to serve as board chairman in the U.S. and help mobilize the music industry to protect our planet.”
“We’re very honored to welcome such a strong and driven group to EarthPercent’s U.S. Board,” adds EarthPercent’s co-executive director Joel Gardner. “Their collective passion, experience and stewardship will be instrumental as we further grow our presence and impact across the states.”
Trending on Billboard
Founded in 2021, EarthPercent raises awareness and funding for climate initiatives — both in the U.S. and globally — by empowering artists and the broader industry to take meaningful action on real environmental solutions. Funding is achieved by getting artists and industry members to pledge a small portion of their income to the organization, which in turn directs it to climate-related projects. Funding also comes via partnerships, merch collaborations and individual fundraisers.
The project, which was also co-founded by music managers Adam Callan and Hiroki Shirasuka, has received support from approximately 300 artists and 50 industry organizations and raised approximately $2 million over the last four years. EarthPercent is also a partner of Sounds Right, the cross-DSP playlist that incorporates nature sounds into tracks and directs of a percent of each song’s royalties to conservation projects. “EarthPercent makes it easy for industry and artists to support the earth through music,”” Gardner continues, “and in our first four years we’ve made a real difference to some of the most impactful climate and biodiversity projects around the world.
“This is thanks to nearly 300 artists and 50 industry organizations joining us through pledges in their tours, records and publishing — collectively raising over $2 million. These new appointments are a really positive and exciting next step to further build our movement and unite the power of music in service of the planet.”
iHeartRadio is facing a class-action lawsuit from subscribers after disclosing that several of its radio stations were hacked months ago, exposing Social Security numbers, financial information and other personal details.
The lawsuit came a week after the radio giant warned customers in regulatory filings last week that “an unauthorized actor viewed and obtained files” at a “small number of our local stations” in December, potentially stealing SSNs, dates of birth, and credit card info.
iHeart said it “immediately implemented our response protocols” to contain the hack, and is offering free credit monitoring to those affected. The company also said it had “strengthened its existing security measures” to “help prevent something like this from happening again.”
Trending on Billboard
Those assurances were not enough for Cheryl Shields, a subscriber who filed a proposed class action against iHeart on Wednesday in New York federal court, seeking to represent customers nationwide whose data was compromised. In doing so, her attorneys blasted iHeart for waiting four months to warn subscribers that their data was at risk.
“As a result of this delayed response, plaintiff and class members had no idea for four months that their private information had been compromised, and that they were, and continue to be, at significant risk of identity theft and various other forms of personal, social, and financial harm,” Shield’s lawyers write. “The risk will remain for their respective lifetimes.”
The data exposed in the iHeart breach “represents a gold mine for data thieves,” the lawyers write, and there has been “no assurance offered by iHeart that all personal data or copies of data have been recovered or destroyed.”
A spokesperson for iHeart did not immediately return a request for comment on Thursday.
Such lawsuits are common following data breaches. After the credit-reporting company Equifax suffered a 2017 data breach that exposed the personal data of nearly 150 million Americans, the company agreed to pay $425 million to resolve nationwide class-action litigation filed by consumers.
The scale of the iHeart data breach is undoubtedly far smaller. The company did not disclose in regulatory filings how many total victims were involved nationwide, though a notification filed in Maine said only three subscribers in that state had been impacted. Disclosure forms were also filed in California and Massachusetts, as first reported The Record.
In technical legal terms, Wednesday’s lawsuit accused iHeart of negligence, arguing that the company had a legal duty to safeguard consumer’s data.
“As a national media and audio provider in possession of millions of customers’ private information, iHeart knew, or should have known, the importance of safeguarding the
Private Information entrusted to it by Plaintiff and Class Members and of the foreseeable consequences they would suffer if iHeart’s data security systems were breached,” Shields’ lawyers write. “Nevertheless, iHeart failed to take adequate cybersecurity measures to prevent the data breach.”
AEG Presents announced today that Andrew Spencer has been named chief operating officer of AEG Presents Europe. In his new job, Spencer will oversee the concert promotions company’s network of promoters, venues and festivals and focus on realigning the company’s strategy and growth initiatives in the region. Spencer will be headquartered in London, where he […]
Indie digital rights group Merlin has announced its first partner for Merlin Connect, an initiative designed to help emerging social and tech platforms license music while increasing payouts for indie artists.
On Thursday (May 8), Merlin revealed that it has partnered on the initiative with Nina Protocol, a music platform and direct-to-fan marketplace that’s described in a press release as “built to empower independent artists and labels through fair economics, direct payments, and tools for directly engaging their communities.”
Through the initiative, which was unveiled last June, Merlin will provide chosen platforms with music, API-backed operational infrastructure, and support and mentorship — including access to industry experts and collaboration with Merlin members — to help supercharge the platforms’ growth.
Trending on Billboard
“Through Merlin Connect, we’re investing in a future where quality independent music is foundational to digital innovation,” said Jeremy Sirota, CEO of Merlin, in a statement. “It’s about identifying partners like Nina Protocol whose mission, principles, and passion align closely with our own, and providing them with licensing solutions and dedicated support to help them thrive. Nina’s approach to artist empowerment, transparent monetization, and platform independence makes them a powerful partner for our members and a standout among emerging platforms in the space.”
Founded in 2021 by Mike Pollard, Eric Farber and Jack Callahan, Nina Protocol allows artists and labels to grow release earnings via direct-to-fan sales while keeping 100% of digital sales revenue. It also lets fans “unlock perks” when they support artists and discover music “through both lean-back listening and active ‘crate-digging’ exploration,” according to the release, which adds that Nina Protocol “is known for its high-quality editorial content — designed to feature artists, scenes and new releases.”
“We believe the future of music is independent,” said John Pollard, COO at Nina Protocol. “In Merlin, we have found an ideal partner with an impressive track record of demonstrating how independent music can come together to secure its own digital future. This partnership connects Nina with Merlin’s diverse global membership, providing high-quality catalog and crucial insights that will help us continue to build technology that serves the independent music community and strengthens the independence of artists and labels worldwide.”
Prior to the partnership, Merlin members were already using Nina Protocol to build artist-to-fan communities. This included Mad Decent artist LUCY participating in a Q&A on the platform; artist Harto Falión being featured in a “Nina Interview Vid”; Warp Records’ OPN taking part in a Nina interview; and artist Wu-Lu engaging fans in a Q&A session. Through the partnership, the release says, Merlin Connect will work to “bring Nina’s impact to the wider Merlin membership.”
Merlin Connect content is slated to launch on Nina Protocol this summer.
Warner Music Group reported quarterly revenue edged nearly 1% lower and net income was down almost 63% for the start of the year, as the label home of stars like Bruno Mars and Lady Gaga struggled with tough comparisons to last year’s quarter.
WMG reported overall revenue of $1.48 billion and recorded music revenue of $1.175 billion, a 1% decline, for the fiscal second quarter, which ended March 31, compared to a year ago. Publishing revenue rose 1% to $310 million. Net income was $36 million compared to $96 million a year ago, due to lower recorded music revenue, a $34-million loss due to exchange rates costing the company more on its euro-denominated loans and an $11 million increase in a certain kind of taxes.
Total digital revenue slipped 1% with streaming revenue roughly flat, which reflects the comparison to last year’s boon quarter, a lighter release slate and market share loss in China.
Trending on Billboard
WMG CEO Robert Kyncl says these results belie the green shoots showing from company’s cost-cutting and new releases strategy, which he says results in their growing market share of new releases. Songs performed by WMG artists like Mars, Billie Eilish, Benson Boone and Teddy Swims currently claim half of the spots atop Billboard’s Global 200 chart.
“Our strategy is starting to bear fruit, with our strongest chart presence in two years … As a result, our true strength this quarter was partially obscured by challenging comparisons with last year’s outperformance,” Kyncl said in a statement, referring in part to last year’s 13.5% subscription streaming growth. “As we replicate our strategy across other labels and geographies, and drive a virtuous cycle of greater reinvestment, we expect to deliver lasting value for artists and songwriters, and sustained growth and profitability for shareholders.”
Adjusted operating income before depreciation and amortization (OIBDA) declined 3% to $303 million, and adjusted OIBDA margin decreased half a percentage point to 20.4%.
Because it earns more than half of its income from outside of the United States, WMG releases earnings on constant currency basis — a method that updates last year’s revenue and other line items using this year’s foreign exchange rates.
On a constant currency basis, overall quarterly revenue rose 1% — though recorded music and publishing both still declined by 2% and 5% respectively — and adjusted OIBDA declined by 1%.
Universal Music Group wants a federal judge to dismiss Drake’s updated defamation lawsuit that complained about Kendrick Lamar’s Super Bowl halftime performance of “Not Like Us,” arguing he’s just upset about a “rap artist who defeated him.”
Weeks after Drake filed an amended version of his case that claimed the halftime show was intended to “assassinate the character of another artist,” UMG fired back Wednesday – arguing that the new claims about the Super Bowl are as legally faulty as the rest of the case.
“Drake’s new allegations are astonishing,” the music giant’s lawyer Rollin Ransom writes. “As Drake concedes, Lamar’s Super Bowl performance did not include the lyric that Drake or his associates are “certified pedophiles” (i.e., the alleged “Defamatory Material” that is at the heart of this case).”
Trending on Billboard
“The focus of Drake’s new claims — that ‘the largest audience for a Super Bowl halftime show ever’ did not hear Lamar call Drake or his crew pedophiles — betrays this case for what it is: Drake’s attack on the commercial and creative success of the rap artist who defeated him, rather than the content of Lamar’s lyrics,” Ransom added.
Lamar released “Not Like Us” last May amid a high-profile beef with Drake that saw the two UMG stars release a series of bruising diss tracks. The song, a knockout punch that blasted Drake as a “certified pedophile” over an infectious beat, eventually became a chart-topping hit in its own right.
In January, Drake took the unusual step of suing UMG over the song, claiming his own label had defamed him by boosting the track’s popularity. The lawsuit, which doesn’t name Lamar himself as a defendant, alleges that UMG “waged a campaign” against its own artist to spread a “malicious narrative” about pedophilia that it knew to be false.
UMG believes the case is clearly meritless – that “hyperbolic insults” and “vitriolic allegations” are par for the course in diss tracks and cannot form the basis for a libel lawsuit. The company has pointedly noted that Drake himself was happy to make such attacks, including accusing Lamar of domestic abuse, until he lost the battle.
During the halftime show, which took place weeks after Drake filed his case, Lamar omitted the word “pedophile.” But after much speculation over whether he’d play the song at all, Kendrick really didn’t hold back otherwise – making it the centerpiece of the set and clearly rapping similar lyrics, including: “Say, Drake, I hear you like ’em young.”
In his amended complaint last month, Drake’s attorneys argued that the decision to censor the word “pedophile” during the broadcast failed to avoid the song’s defamatory meaning – and instead had underscored the rapper’s legal case against UMG.
“Kendrick Lamar would not have been permitted to perform during the Super Bowl Performance unless the word ‘pedophile’… was omitted from the lyrics — that is because nearly everyone understands that it is defamatory to falsely brand someone a ‘certified pedophile’,” wrote Drake’s attorney Michael Gottlieb.
But in Wednesday’s motion to dismiss the case, UMG argued that Drake’s censorship argument was logically flawed.
“Drake contends that the decision not to include the word ‘pedophiles’ … could only reflect that the language is defamatory,” UMG’s lawyers write. “But this ignores any number of other explanations for the decision — such as threats by Drake of additional meritless litigation.”
Wednesday’s motion also highlighted that Drake had “removed obviously false factual allegations” from his original complaint, including that UMG directly paid for bots to boost streams of Kendrick’s track: “Drake is now reduced to citing a different podcast host who claimed that ‘Kendrick used bots’ [and] a now-deleted anonymous X comment accusing Lamar of ‘buying promo.’”
Drake’s lawyers will have a chance to respond to the motion to dismiss in the weeks ahead, and the judge will issue a ruling at some point in the next few months.
Smokey Robinson has denied shocking new claims of sexual assault, saying through his attorney that the “vile, false allegations” are merely “an ugly method of trying to extract money from an 85-year-old American icon.”
In a statement Wednesday (May 7), lawyer Christopher Frost says he will “fiercely defend” both Smokey Robinson and his wife, Frances, against the $50 million lawsuit claiming the R&B legend raped four different housekeepers over the course of nearly two decades.
“As this case progresses, the evidence (the crucial element that guides us) will show that this is simply an ugly method of trying to extract money from an 85-year-old American icon — $50 million dollars, to be exact,” writes Frost.
Trending on Billboard
Frost says he plans to file a motion to dismiss the lawsuit and address “numerous aspects of the complaint that defy credulity as well as issues relating to purported timelines, inconsistencies and relationships between the plaintiffs and others.”
The lawyers who brought the case did not immediately return a request for comment Wednesday.
The statement comes one day after Smokey and Frances Robinson were sued in Los Angeles state court by four of their former housekeepers. The employees, suing anonymously, say Smokey Robinson forced them to have oral and vaginal sex in his bedroom dozens of times between 2007 and 2024.
The housekeepers claim Frances shares blame because she did nothing to stop the alleged abuse, despite knowing that her husband had a history of sexual misconduct and that he’d previously struck settlements with assault victims.
The lawsuit also says the Robinsons paid their employees below minimum wage, and that Frances Robinson created a hostile work environment replete with screaming and “racially-charged epithets.”
The settlements cited in Tuesday’s lawsuit have not been previously reported, and there’s no apparent record of prior sexual assault lawsuits against Smokey Robinson. This means that, if legitimate, the deals were likely struck confidentially and outside of court.
But the legendary R&B singer and recording executive is no stranger to the courtroom. In 2023, Robinson testified at a federal jury trial over claims that he stiffed a former manager out of nearly $1 million.
The jurors largely sided with Robinson, finding that former manager Eric Podwall was not entitled to touring profits under his contract. Podwall won just $2,000 for an unpaid record advance after the more than six-year-long legal battle with Robinson.
