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Nancy Black might not be a name known to many outside of the Roma community, but the rapper is using her voice and platform to call out the injustice faced by her people. In a new profile, Nancy Black is using Hip-Hop as a vehicle for change and to support the recognition of all Roma people.
Nancy Black, real name Gilda-Nancy Horvath, was featured in a profile from the AFP centered on her still-growing career as a rapper and the motivations behind her art.
Horvath first began her rapping career about eight years ago, creating what the profile referred to as an âangry rapâ song or protest song titled âTrushula,â which has a video with English subtitles where one can read exactly who she is targeting with her bars.
The profile goes on to note that Horvath was inspired by the development of far-right groups across Europe, especially in her home country of Austria. There, the Freedom Party (FPOe), which reportedly had Nazi ties, led in polls for the countryâs national elections and this has Horvathâs attention.
Beyond tackling anti-Roma racism in verse form, Horvath also raps in Romani in part to keep the language alive and to âstop the sufferingâ as she told the outlet.
âWith the death of this language we are also forgetting a large part of our history,â Horvath said.
The Roma people, who number around 14 million, are burdened with discrimination across the realms of education and employment, along with struggling with poverty per the European Union Agency for Fundamental Rights (FRA).
Check out Nancy Blackâs âTrushulaâ track below
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Photo: AFP/Getty
Jelly Roll is undoubtedly on a hot streak. After toiling on the edges of the industry for nearly a decade, his career has gone supernova over the past year thanks to his singles âSon of a Sinner,â âNeed a Favorâ and âSave Me,â the latter of which earned him a Grammy nomination. He rolled across the United States on his 44-city Backroad Baptism Tour in 2023, has played a string of festivals this year and is slated to hit a few more this summer, along with hopping on shows with Morgan Wallen and headlining this fallâs Beautifully Broken tour with Warren Zeiders and Alexandra Kay.
But if you look at Jellyâs road history one thing youâll notice is that his gigs have kept him within the lower 48, a situation he explained while talking to Jon Bon Jovi for Interview Magazine earlier this year. During the chat, the 39-year-old singer born Jason DeFord noted that his felonious past has kept him grounded when it comes to playing gigs overseas.
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âItâs funny, America has finally agreed to let me leave and give me a passport, but some countries wonât let me come because of my felonies,â he told Bon Jovi. âWeâre working on that. I think itâs going to work in my favor.â Then, on Howard Sternâs SiriusXM show Wednesday morning (June 12) after the host asked if Jellyâs past misdeeds are still keeping him grounded, the singer said, âI actually got off the phone with a lawyer yesterday, We are working⊠itâs getting good, itâs starting to look promising. It didnât look good even just six months ago, but itâs starting to look really promising.â
Jelly Roll has spoken openly about his past scuffles with the law and his jail time, including dozens of stints behind bars on drug charges going back to when he was 14, as well as an arrest at 16 for aggravated robbery that landed him a year in prison when he was tried as an adult; he had been facing a potential 20-year sentence in the case, though he served just over a year behind bars and seven years of probation. Heâs also talked about the time in 2008 when, at 23, he was locked up on drug dealing charges when his daughter Bailee was born. Among the repercussions are an inability, until recently, to secure a passport, as well as an inability to vote, volunteer at most nonprofits or own a firearm.
So whatâs still keeping him from getting his first passport stamp? Billboard spoke to several prominent European immigration lawyers to find out what the hang-up is and whether Jelly might be able to rock stages overseas in the near future. (The experts agreed to speak in general terms about immigration laws in their country, but had no first-hand knowledge of Jelly Rollâs case.)
First, the good news.
According to the rules about entrance to the 26 European countries that allow unrestricted travel within their borders â collectively known as the Schengen Area, which includes Austria, Denmark, Finland, France, Germany, Greece, Italy, the Netherlands, Poland, Spain and Sweden, among others â non-EU nationals can be denied entry if they are considered a âthreat to public policy, internal security, public health or the international relations of any EU or Schengen country.â
A prominent Italian immigration lawyer who requested anonymity tells Billboard that once you legally enter a country in the Schengen region, you are free to travel among the countries with a valid passport, as long as you are not listed on INTERPOLâs list of restricted individuals. The region does have a list of serious criminal offenses over the previous decade â or 20 years in the case of terror offenses â that an applicant for entry must report before visiting. The list of barring offenses includes terrorism, human trafficking, child pornography, drug/weapon trafficking, fraud, money laundering, environmental crimes, murder, racketeering, arson and nuclear material trafficking.
Based on that list, Jelly Rollâs priors do not appear to rise to the level that would bar him from visiting the Schengen countries. The attorney noted, however, that those rules are slated to change in 2025 when non-EU nationals who donât need a visa to travel to the Schengen area â a list that includes U.S. citizens â will have to apply for travel authorization through the ETIAS travel portal for short-term (90-180 day) stays; at present, if you have a valid passport and donât plan to stay for more than three months a visa is not required to enter the region.
At press time, a spokesperson for Jelly Roll had not returned Billboardâs request for comment on the status of Jellyâs overseas touring plans.
The bad news, according to Matthew James of leading U.K. immigration law firm Bates Wells, is that the United Kingdom has what are called âGeneral Grounds For Refusalâ laws that look at whether an individual has previously overstayed their visa in the country as well as a past history of criminality. What gets captured under that rather broad umbrella are mandatory and discretionary grounds for refusal, which James says are somewhat âopaque.â
âIf youâve received a custodial sentence of more than 12 months, that should be a bar to entering the U.K., so thereâs absolutely no chance of you coming in if youâve done 12 months of jail time,â he says, noting that if youâve done less than 12 months but are a âpersistent offenderâ with multiple drug offenses you can be refused as a âpersistentâ offender; you can also be refused if the offense has caused serious harm.
However, for artists looking to visit for less than six months to stage a series of performances, there is an added wrinkle that if theyâve received a conviction within 12 months of their visit, their application will also be refused, which should not apply to Jelly Roll since his convictions occurred more than 20 years ago.
The U.K.âs secretary of state could also decide that an individualâs presence in the nation is ânot conducive to the public goodâ because of their character or other reasons, with James pointing to Tyler, the Creator announcing that his lyrical content had gotten him banned from entering the United Kingdom for 3 to 5 years due to his then-violent and misogynistic lyrics. At the time, the Home Office issued a statement reading, âComing to the U.K. is a privilege, and we expect those who come here to respect our shared values. The Home Secretary has the power to exclude an individual if she considers that his or her presence in the U.K. is not conducive to the public good or if their exclusion is justified on public policy grounds.â Tyler has subsequently been invited to the nation with no incident.
Snoop Dogg has talked about how the late Queen Elizabeth II helped him avoid getting booted from England in 1994 when he was facing first- and second-degree murder charges for which he was later acquitted. Ja Rule said he was âdevastatedâ when his planned 2024 U.K. tour was canceled after he was denied entry due to his criminal record on gun possession and tax evasion.
James says that, in general, American visitors â especially those coming for permitted paid engagements â can enter the United Kingdom for what are called âpermit-freeâ festivals, such as Glastonbury, without applying for a visa. In a testament to money talking, he added that the ultimate discretion lies with the secretary of state. âIf you are a Snoop Dogg and you are about to sell out Wembley Stadium for three nights and itâs going to make a huge amount of money for the U.K. economy and heâs done loads of great work rehabilitating other people and people learning from his errors and never caused another issue since in 20-plus years,â says James, you could likely talk to someone more senior in the government and get some leeway on the rules, which, he notes, are mainly intended to bar known criminals from living in the country.
That said, those who have committed particularly heinous crimes face a different standard. R. Kelly â who is currently serving a 20-year prison sentence on child sex abuse convictions â is unlikely to ever be allowed to perform in the United Kingdom again following his release.
Jelly Roll has talked extensively about the work heâs done talking to youth about his law-breaking days and visiting facilities to share his story, including donating a recording studio to the Davidson County Juvenile Detention Center, where he was incarcerated as a teen, in 2023.
James says that given that Jelly Rollâs arrests and incarcerations occurred mostly when he was young, that heâs clearly worked on rehabilitating himself and that heâs on the upswing of his career, itâs always possible that âoverarching discretionâ could come into play. This allows officials not to apply the rules in the strictest manner, particularly if an artistâs concerts will bring significant revenue to the United Kingdom and the person is not a perceived risk. âThey will fly in on their private plane and play their set at Wembley and then leave,â he says. âThey would have to show remorse and a redeemed character and the benefits to society they are bringing and the economic advantages theyâre bringing.â
The Red Clay Strays, the quintet behind the recent viral hit âWondering Why,â are set to launch their inaugural European tour in August.
The group, who just inked a major label deal with RCA Records and are signed with WME for booking, will play five shows, beginning Aug. 18 in Dublin, Ireland, and followed by shows in Glasgow, UK (Aug. 20), Manchester, UK (Aug. 21), London (Aug. 23) and wrapping the trek with a show at The Long Road Festival in Leicestershire, UK, on Aug 24.
The group, hailing from Mobile, Alabama, first released âWondering Whyâ in 2022, though the song began surging in late 2023 thanks to social media. The group â which includes lead singer Brandon Coleman, electric guitarist Zach Rishel, guitarist/vocalist Drew Nix, bassist Andrew Bishop and drummer John Hall â has been making music since 2016, blending elements of rockabilly, gospel, soul, blues, rock and country into a sonic mesh Coleman refers to as ânon-denominational rock ânâ roll.â Coleman, Nix and songwriter Dan Couch wrote âWondering Why.â
The band is working on a Dave Cobb-produced album. âSince weâve started, the goal from day one was to work with Dave Cobb,â Coleman previously told Billboard. âThe fact that it actually happened is surreal.â
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The Red Clay Strays released their debut album Moment of Truth in 2022, and have since opened shows for artists including Eric Church and Dierks Bentley. In September 2023, they also launched their headlining Way Too Long Tour, and are set to appear on a slate of music festivals this summer, including Moon Crush and Cattle Country Fest.
Tickets for the slate of European shows go on sale April 5 at 10 a.m. local time. Fans can also sign up for a passcode for an artist presale on April 3 beginning at 10 a.m. local time.
Spotify has outlined a number of changes it will soon be introducing for European users, including the ability to make in-app purchases, in response to new EU legislation governing how online companies and platforms operate in the region.
Beginning in March, Spotifyâs European users will be able to make âseamless and secureâ in-app payments for products such as audiobooks on iPhone and Android devices, the Swedish streaming company announced in a blog post on Wednesday (Jan. 24).
Users of Spotifyâs free ad-supported service will additionally be able to upgrade to its premium offering through their phone (without leaving the app), while the company says it will begin directly communicating with customers about subscription offerings, upgrades, deals and promotions.
The changes are being implemented as a result of the European Unionâs Digital Markets Act (DMA), a sweeping piece of legislation designed to curb the dominance of tech giants like Apple, Amazon, Google and Meta. The DMA forces tech companies trading within the EU region to open up their services and platforms to other businesses and allow them to operate more freely. For companies like Spotify, the law means that Apple is no longer able to charge them a 30% fee on all purchases made through its App Store â a long-running practice that served as a source of contention between the two companies and which is now prohibited in EU member states (smaller developers pay fees of around 15%).
Although the law officially came into force in November 2022, companies have until Mar. 7 to comply with the regulations. Apple didnât respond to requests for comment when contacted by Billboard.
âFor years, even in our own app, Apple had these rules where we couldnât tell you about offers, how much something costs, or even where or how to buy it,â Spotify said in the blog post, entitled âThe DMA Means a Better Spotify for Artists, Creators, and You.â
The company goes on to say that the changes itâs implementing will mean âgood things for artists, authors, and creators looking to build their audiences of listeners, concert-goers, and audiobook-loving fans.â
Some of the ways Spotify said it will be looking to do that is by allowing creators to download its âSpotify for Artistsâ and âSpotify for Podcastersâ tools directly from its site and alternative app stores.
âIt should be this easy for every single Spotify customer everywhere,â stated the company, referencing its well-publicized battles with Apple in the United States and other international markets over transaction fees the tech company charges app developers.
Last week, Spotify accused Apple of âstopping at nothingâ to protect its profits after the firm introduced commission fees of up to 27% in the United States for app developers that choose to sell products in places other than its own App Store.
Apple introduced the fees following a long-running legal battle with Fortnite developer Epic Games in U.S. courts. Although Epic lost the case, a California judge ordered Apple to make changes to how its store operates, including allowing links to outside platforms and third-party services. Last week, The Supreme Court rejected appeals from both Apple and Epic Games. Â Â
In Wednesdayâs blog post, Spotify said it will âkeep fightingâ for governments and regulators to pass laws like the DMA âbecause freedom from gatekeepers means more choice for consumers and positive impact for artists, authors, creators and developers everywhere.â
One front in that fight is taking place in the United States, where Spotify founder/CEO Daniel Ek has actively lobbied Congress and the Biden administration to pass the Open App Markets Act, which would disallow Apple, Google and other app stores with more than 50 million users from forcing app developers to use their payment systems as a condition of distribution. Though the bill never made it to the floor of either chamber, advocates reportedly expect its reintroduction soon.
LONDON â Representatives of the creative industries are urging legislators not to water down forthcoming regulations governing the use of artificial intelligence, including laws around the use of copyrighted music, amid fierce lobbying from big tech companies.    Â
On Wednesday (Dec. 6), policy makers from the European Union Parliament, Council and European Commission will meet in Brussels to negotiate the final text of the EUâs Artificial Intelligence Act â the worldâs first comprehensive set of laws regulating the use of AI. Â
The current version of the AI Act, which was provisionally approved by Members of European Parliament (MEPs) in a vote in June, contains several measures that will help determine what tech companies can and cannot do with copyright protected music works. Among them is the legal requirement that companies using generative AI models like OpenAIâs ChatGPT or Anthropicâs Claude 2 (classified by the EU as âgeneral purpose AI systemsâ) provide summaries of any copyrighted works, including music, that they use to train their systems.
The draft legislation will also force developers to clearly identify content that is created by AI, as opposed to human works. In addition, tech companies will have to ensure that their systems are designed in such a way that prevents them from generating illegal content.
While these transparency provisions have been openly welcomed by music executives, behind the scenes technology companies have been actively lobbying policymakers to try and weaken the regulations, arguing that such obligations could put European AI developers at a competitive advantage. Â
âWe believe this additional legal complexity is out of place in the AI Act, which is primarily focused on health, safety, and fundamental rights,â said a coalition of tech organizations and trade groups, including the Computer and Communications Industry Association, which counts Alphabet, Apple, Amazon and Meta among its members, in a joint statement dated Nov. 27.
In the statement, the tech representatives said they were concerned âabout the direction of the current proposals to regulateâ generative AI systems and said the EUâs proposals âdo not take into account the complexity of the AI value chain.â Â Â
European lawmakers are also in disagreement over how to govern the nascent technology with EU member states France, Germany and Italy understood to be in favor of light touch regulation for developers of generative AI, according to sources close to the negotiations.Â
In response, music executives are making a final pitch to legislators to ensure that AI companies respect copyright laws and strengthen existing protections against the unlawful use of music in training AI systems. Â
Helen Smith, the executive chair of IMPALA. /
Lea Fery
Helen Smith, executive chair of European independent labels group IMPALA, tells Billboard that the inclusion of âmeaningful transparency and record keeping obligationsâ in the final legislation is a âmust for creators and rightsholdersâ if they are to be able to effectively engage in licensing negotiations.
In a letter sent to EU ambassadors last week, Björn Ulvaeus, founder member of ABBA and president of CISAC, the international trade organization for copyright collecting societies, warned policymakers that âwithout the right provisions requiring transparency, the rights of the creator to authorise and get paid for use of their works will be undermined and impossible to implement.â
The European Composer and Songwriter Alliance (ECSA), International Federation of Musicians (FIM) and International Artist Organisation (IAO) are also calling for guarantees that the rights of their members are respected.
If legislators fail to reach a compromise agreement at Wednesdayâs fifth and planned-to-be-final negotiating session on the AI Act, there are a number of possible outcomes, including further âtrologueâ talks the following week. If a deal doesnât happen this month, however, there is the very real risk that the AI Act wonât be passed before the European parliamentary elections take place in June.
If that happens, a new parliament could theoretically scrap the bill altogether, although executives closely monitoring events in Brussels, the de facto capital of the European Union, say that is unlikely to happen and that there is strong political will from all sides to find a resolution before the end of the year when the current Spain-led presidency of the EU Council ends.
Because the AI Act is a regulation and not a directive â such as the equally divisive and just-as-fiercely-lobbied 2019 EU Copyright Directive â it would pass directly into law in all 27 EU member states, although only once it has been fully approved by the different branches of the European government via a final vote and officially entered into force (the exact timeframe of which could be determined in negotiations, but could take up to three years).Â
In that instance, the actâs regulations will apply to any company that operates in the European Union, regardless of where they are based. Just as significant, if passed, the act will provide a world-first legislative model to other governments and international jurisdictions looking to draft their own laws on the use of artificial intelligence.
âIt is important to get this right,â says IMPALAâs Smith, âand seize the opportunity to set a proper framework around these [generative AI] models.â
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