State Champ Radio

by DJ Frosty

Current track

Title

Artist

Current show
blank

State Champ Radio Mix

1:00 pm 7:00 pm

Current show
blank

State Champ Radio Mix

1:00 pm 7:00 pm


International

Page: 39

Taiwanese Mandopop singer-songwriter Jay Chou and his record label JVR Music have entered into a strategic partnership with Universal Music Greater China. Under the agreement, announced Wednesday in Beijing, UMG will market and distribute Chou’s back catalog and future projects, while also absorbing a JVR artist roster that includes Patrick Brasca and Young (Cao Yang). Earlier […]

BERLIN — SUISA Digital Licensing is suing Twitter International in Munich District Court for copyright infringement on X, the online platform formerly known as Twitter. The suit alleges that music compositions controlled by SUISA Digital are found on the platform, and that the company has made no effort to license them or act promptly to remove the infringing content.
“SUISA Digital is using all of the resources at its disposal to defend the interests of authors and publishers it represents,” said SUISA Digital CEO Fabian Niggemeier in a press release about the lawsuit. “This is the only way we can effectively represent the interests of authors and publishers and ensure that they are compensated fairly by Twitter International.”

Rights to the songs in question, many of which were found in full videos on X, are represented by SUISA Digital, a subsidiary of SUISA, the Swiss collecting society. (SUISA Digital represents both public performance rights and mechanical rights for the works in question.) SUISA Digital says that it has tried to get in touch with X/Twitter in order to negotiate licensing arrangements, but it has yet to receive a serious response.  

SUISA Digital also works closely with the U.S. performing rights society SESAC, as partners in their joint venture MINT. “SUISA Digital has our full backing in its lawsuit against Twitter International,” said SESAC International president Alexander Wolf in the press release.

Although SUISA Digital is officially based in Switzerland and Liechtenstein, the organization filed the lawsuit in Munich, since it’s part of a larger market, as well as one that has traditionally been friendly to copyright.

This isn’t the only music infringement lawsuit against X/Twitter. In June, dozens of music publishers sued the company for similar behavior. But there are several important differences between the two cases. In the U.S., X operates under the Digital Millennium Copyright Act, which offers online platforms “safe harbor” for infringement committed by their users, as long as they act to remove unauthorized content. (The publishers’ suit alleges that the company didn’t do that, or have a policy to ban repeat infringers.)

In Germany, the equivalent law falls under the European Copyright Directive, which is broadly similar but requires platforms to make efforts to license content – which the SESAC lawsuit alleges that Twitter did not do.

The other difference is damages. While the music publishers’ suit could be worth as much as $255 million, although that’s a maximum based on statutory damages, in Germany the case would have to establish damages based on the value of the licenses Twitter needed but did not get. Presumably, the idea behind this lawsuit is to force the Elon Musk-led company to enter into serious licensing negotiations.

Jean Michel-Jarre will have a tres merry Christmas and also offer some joy to the world, with the French electronic pioneer set to perform from Versailles on Dec. 25.

Explore

Explore

See latest videos, charts and news

See latest videos, charts and news

Presented by UNESCO and the French Ministry of Culture, the performance will happen from the Château de Versailles’ Hall of Mirrors, a UNESCO world heritage site, to celebrate the location’s 400th anniversary.

Called VERSAILLES 400, the show will happen in front of a live performance in the Hall of Mirrors, and also in virtual reality. Jarre will play while wearing a mixed reality headset, with the metaverse version of the show happening in a digital Hall of Mirrors. The virtual audience can connect through VR or on tablets and smartphones.

The show is designed as a tribute to French innovation that brings together current artforms and the art of the 17th century. Tickets for the live performance at Versailles start at 60€, or $65.

The show will be filmed at the Château de Versailles and broadcast on French and international television channels, along with Jarre’s YouTube channel and in VR on the French VRROOM platform, all on Dec. 25, Christmas Day.

“Versailles 400 is a hybrid concert and visual creation broadcast live from one of the world’s most beautiful locations, as well as in virtual reality in the metaverse,” Jarre said in a press release. “I hope the event will help promote our creative savoir faire and bring the world of French immersive creation to the forefront of collective culture.”

The 75-year-old genre legend is not a stranger to playing in exotic locations. In 1981, he was the first Western musician to perform in China, landmark shows captured for the double album The Concerts In China. He was invited again, which he accepted in 2004, whereupon he played the Forbidden City and Tiananmen Square, concerts which beamed live on national television. Other shows have incorporated skyscrapers and city landmarks.

In 2020, President Emmanuel Macron awarded him the Commander of the Légion d’Honneur, France’s highest order of merit. Earlier, he released the album Amazonia, a musical tribute to the Amazon rain forest, its inhabitants and the threats they face, and the companion to an exhibition by legendary photographer Sebastião Salgado. Jarre’s most recent album, Oxymore, was released in 2022.

Music credits database Jaxsta is still Jaxsta, but the parent company housing it — along with social networking platform Vampr and online record store Vinyl.com — is now called Vinyl Group Ltd. The fine-print flip was announced on Tuesday (Dec. 5) following approval from shareholders at the publicly-listed company’s general meeting last month. “It’s a […]

LONDON — 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.     
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 EU’s Artificial Intelligence Act – the world’s first comprehensive set of laws regulating the use of AI.  

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 OpenAI’s ChatGPT or Anthropic’s Claude 2 (classified by the EU as “general purpose AI systems”) 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.  

“We believe this additional legal complexity is out of place in the AI Act, which is primarily focused on health, safety, and fundamental rights,” 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 “about the direction of the current proposals to regulate” generative AI systems and said the EU’s proposals “do not take into account the complexity of the AI value chain.”   

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. 

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.  

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 “meaningful transparency and record keeping obligations” in the final legislation is a “must for creators and rightsholders” 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 “without 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.”

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 Wednesday’s fifth and planned-to-be-final negotiating session on the AI Act, there are a number of possible outcomes, including further ‘trologue’ talks the following week. If a deal doesn’t happen this month, however, there is the very real risk that the AI Act won’t 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 — such as the equally divisive and just-as-fiercely-lobbied 2019 EU Copyright Directive — 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). 

In that instance, the act’s 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.

“It is important to get this right,” says IMPALA’s Smith, “and seize the opportunity to set a proper framework around these [generative AI] models.”

Warner Music Cono Sur (which covers the Southern Cone of Latin America) and Lotus, the events production company behind Lollapalooza Chile, have launched a new label, booking and management company. Explore Explore See latest videos, charts and news See latest videos, charts and news According to both companies, this new division of Lotus also integrates […]

BTS and ZEROBASEONE were both double winners at night 1 of the 2023 MAMA AWARDS, the world’s top K-pop awards show, on Tuesday (Nov. 28).  BTS won the Samsung Galaxy worldwide icon of the year award and also was one of 10 winners of worldwide fans’ choice. ZEROBASEONE was one of two winners of favorite new artist (along with RIIZE) and another of the 10 winners of worldwide fans’ choice.
The other eight winners of worldwide fans’ choice were ATEEZ, ENHYPEN, Lim Young Woong, NCT DREAM, SEVENTEEN, Stray Kids, TOMORROW X TOGETHER and TWICE.

Nominees for worldwide fans’ choice who were not selected were aespa, AKMU, BOYNEXTDOOR, BTOB, CIX, CRAVITY, EVNNE, EXO, fromis_9, (G)I-DLE, H1-KEY, Highlight, ITZY, IVE, Jisoo, Jeon Somi, Kep1er, LE SSERAFIM, Lee Chae Yeon, Lee Mujin, MONSTA X, n.SSign, NCT 127, NewJeans, NMIXX, ONEUS, P1Harmony, Parc Jae Jung, Red Velvet, RIIZE, SHINee, STAYC, Super Junior, Taeyang, TEMPEST, THE BOYZ, TREASURE, Xdinary Heroes, xikers and Zior Park.

First-night performers included &TEAM, Dynamicduo, ENHYPEN, INI, JO1, JUST B, Kep1er, Lee Young Ji, STREET WOMAN FIGHTER 2, TOMORROW X TOGETHER, TVXQ!, xikers and Yoshiki.

In addition, JAEHYUN of BOYNEXTDOOR, HONG EUNCHAE of LE SSERAFIM, ANTON of RIIZE, CHOI HYUN SUK, YOSHI, HARUTO of TREASURE and ZHANG HAO of ZEROBASEONE appeared for special collaborations.

Videos of the performances can be watched on the official YouTube channel, Mnet K-POP.

ZEROBASEONE is set to take the stage on night 2, Wednesday Nov. 29, along with ATEEZ, BOYNEXTDOOR, EL7Z UP, (G)I-DLE, LE SSERAFIM, Monika, NiziU, RIIZE, SEVENTEEN and TREASURE.

Here’s a complete list of winners from night 1 of the 2023 K-Pop Awards.

SAMSUNG Galaxy Worldwide Icon of the Year: BTS

Worldwide Fans’ Choice: ATEEZ, BTS, ENHYPEN, Lim Young Woong, NCT DREAM, SEVENTEEN, Stray Kids, TOMORROW X TOGETHER, TWICE, ZEROBASEONE

Favorite New Artist: RIIZE, ZEROBASEONE

Inspiring Achievement: TVXQ!

Favorite Asian Male Group: INI

Favorite Asian Female Group: Kep1er

Favorite International Artist: Yoshiki

Galaxy Neo Flip Artist: TREASURE

bibigo CULTURE & STYLE: STREET WOMAN FIGHTER 2

A stampede during a music festival at a university in southern India on Saturday (Nov. 25) killed at least four students and injured 60 others, according to news agency Press Trust of India. Explore Explore See latest videos, charts and news See latest videos, charts and news The disaster happened at the Cochin University of […]

The 2024 Brit Awards is making two changes to boost the “representation and inclusion” of its nominees. It is adding a separate R&B category to its four genre awards, and it is increasing the number of nominees for both British artist of the year and international artist of the year from five to 10. 
The show, officially dubbed BRIT Awards with Mastercard 2024, returns for its 44th edition on Saturday March 2, 2024.

The Brit Awards introduced four genre awards categories in 2022 — alternative/rock, dance, pop/R&B and hip hop/grime/rap. With the addition of a category focused solely on R&B, there will be five genre awards categories. Eligibility for the R&B award will cover a 24-month period as opposed to the usual 12 months.

At the 2023 Brits on Feb. 11, Harry Styles won the pop/R&B award, over Cat Burns, Charli XCX, Dua Lipa and Sam Smith. The previous year, Lipa won, beating Adele, Joy Crookes, Griff and Ed Sheeran.

For 2024, The Brits will also increase the number of nominees for both British artist of the year and international artist of the year from five to 10. This change, also aimed at improving representation and inclusion, follows extensive consultation within the BRITs organization and relevant industry and Equality, Diversity & Inclusion (EDI) groups, including the BPI’s own Equity & Justice Advisory Group (EJAG).

“The BRITs is committed to making the show as inclusive and representative as possible,” Dr. Jo Twist OBE, BPI chief executive said in a statement, “The changes to this year’s categories are part of an ongoing process of evolution, and we will continue to review, listen and learn.”

With 10 nominees, British artist of the year and international artist of the year will now mirror song of the year and best international song, which also have 10 nominees. Most other Brits categories have five nominees, except for Rising Star, which has three.

At the 2023 Brit Awards, two of the five nominees for British artist of the year, and four of the five nominees for international artist of the year, were people of color. Styles won artist of the year over Central Cee, Fred Again, George Ezra and Stormzy. Beyoncé won international artist of the year over Burna Boy, Kendrick Lamar, Lizzo and Taylor Swift.

The Brits Voting Academy, responsible for determining the shortlists and the overall winners of the Brit Awards (except for the Rising Star award, which is voted on by a separate panel), is refreshed annually, drawing on updated member data, to ensure relevance and diversity across its participants. The Voting Academy is composed of approximately 1,200 individuals drawn from across the music industry, including artists, managers, media, producers, publishers, record labels and retailers.

In 2024, the Voting Academy will again have a balanced split of men and women and will include a number of members who identify as non-binary or who prefer not to specify their gender, while a quarter of its members identify as Black, Asian or ethnic minority background. The Academy and the voting process is overseen by Civica — an independent voting scrutineer.

Eligibility for the above categories (apart from Rising Star and the five genre awards) is achieved either by an artist album achieving a Top 40 placement on the Official U.K. Albums Chart during the 12-month eligibility period (Dec. 9, 2022–Dec. 8, 2023), or two Top 20 singles on the Official U.K. Singles Chart. To be eligible for one of the genre awards, an artist must have released a Top 40 album or single in the same eligibility period, with the R&B award eligibility achieved over a 24-month period.

For each awards category, Voting Academy members select from a longlist of eligible entries. They will be able to select up to 10 entries in the Artist of the Year categories (UK and International) and Song of the Year (UK and International), and up to five in all other categories.

Mastercard returns as headline partner of The Brit Awards for the 26th year.

Usually, when one says a label dominates an album chart, that means it has most of the top ten — seven, for example, or maybe sometimes eight. This week in Germany, however, UMG has all 10. This seems to be the first time this has happened in Germany, although it is hard to say this […]