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Diddy’s Rape Lawsuit, Shakira’s Tax Fraud Case, UMG’s Spotify Stake & More Top Music Law News

This is The Legal Beat, a weekly newsletter about music law from Billboard Pro, offering you a one-stop cheat sheet of big new cases, important rulings and all the fun stuff in between.

This week: Sean “Diddy” Combs is accused of rape amid an ongoing wave of music industry sexual abuse lawsuits; Shakira settles her $15 million tax evasion case on the eve of trial; UMG defeats a lawsuit filed by artists over its lucrative ownership stake in Spotify; and more.

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THE BIG STORY: Diddy Sued As Music #MeToo Wave Continues

Following a string of abuse cases against powerful men in the music industry, Sean “Diddy” Combs was sued by R&B singer and longtime romantic partner Cassie over allegations of assault and rape — and then settled the case just a day later.

In a graphic complaint, attorneys for Cassie (full name Casandra Ventura) claimed she “endured over a decade of his violent behavior and disturbed demands,” including repeated physical beatings and forcing her to “engage in sex acts with male sex workers” while he masturbated. Near the end of their relationship, Ventura claimed that Combs “forced her into her home and raped her while she repeatedly said ‘no’ and tried to push him away.”

Combs immediately denied the allegations as “offensive and outrageous.” He claimed Cassie had spent months demanding $30 million to prevent her from writing a tell-all book, a request he had “unequivocally rejected as blatant blackmail.”

Read the full story on the lawsuit here.

Just a day after it was filed, Combs and Ventura announced that they had reached a settlement to resolve the case. Though quick settlements can happen in any type of lawsuit, it’s pretty unusual to see a case with such extensive and explosive allegations end just 24 hours after it was filed in court. “I wish Cassie and her family all the best,” Combs said in a statement. “Love.”

Both sides quickly put their spin on the settlement. A former staffer at Cassie’s law firm sent out a statement arguing that the quick resolution was “practically unheard of” and suggesting it showed the “evidence against Mr. Combs was overwhelming.” Combs’ lawyer, Ben Brafman, put out his own statement reiterating that a settlement — “especially in 2023” — was “in no way an admission of wrongdoing.”

Read the full story on the settlement here.

The case against Combs is the most explosive sign yet that, six years after the start of the #MeToo movement, the music industry is currently experiencing something of a second iteration.

Sexual assault lawsuits were filed earlier this month against both former Recording Academy president/CEO Neil Portnow and label exec Antonio “L.A.” Reid, and in October longtime publishing exec Kenny MacPherson was sued for sexual harassment. Before that, sexual misconduct allegations were leveled at late Atlantic Records co-founder Ahmet Ertegun; Backstreet Boys member Nick Carter; singer Jason Derulo; and ex-Kobalt exec Sam Taylor.

Many of the recent cases have been filed under New York’s Adult Survivors Act, a statute that created a limited window for alleged survivors to take legal action over years-old accusations that would typically be barred under the statute of limitations. With that look-back period set to end on Thursday (Nov. 23), more cases could be coming in the next few days. Stay tuned…

Other top stories this week…

UMG WINS CASE OVER SPOTIFY STAKE – A federal judge dismissed a class action against Universal Music Group that challenged the fairness of its 2008 purchase of shares in Spotify. The case, filed by ’90s hip-hop duo Black Sheep, accused the company of taking lower-than-market royalty rates in return for a chunk of equity that’s now worth hundreds of millions. But the judge ruled that such a maneuver — even if proven true — wouldn’t have violated UMG’s contract with its artists.

A$AP ROCKY TO STAND TRIAL – A Los Angeles judge ruled that there was enough evidence for A$AP Rocky to stand trial on felony charges that he fired a gun at a former friend and collaborator outside a Hollywood hotel in 2021. The 35-year-old hip-hop star’s lawyer vowed that “Rocky is going to be vindicated when all this is said and done, without question.”

SHAKIRA SETTLES TAX CASE – The Columbian superstar agreed to a deal with Spanish authorities to settle her $15 million criminal tax fraud case that could have resulted in a significant prison sentence for the singer. After maintaining her innocence for five years, Shakira settled on the first day of a closely-watched trial: “I need to move past the stress and emotional toll of the last several years and focus on the things I love,” she said.

ROD WAVE MERCH CRACKDOWN – The rapper won a federal court order empowering law enforcement to seize bootleg merchandise sold outside his Charlotte, N.C., concert, regardless of who was selling it. He’s the latest artist to file such a case to protect ever-more-valuable merch revenue following Metallica, SZA, Post Malone and many others.

MF DOOM NOTEBOOK BATTLE – Attorneys for Eothen “Egon” Alapatt fired back at a lawsuit that claims he stole dozens of private notebooks belonging to the late hip-hop legend MF Doom, calling the case “baseless and libelous” and telling his side of the disputed story.

“THE DAMAGE WILL BE DONE” – Universal Music Group asked for a preliminary injunction that would immediately block artificial intelligence company Anthropic PBC from using copyrighted music to train future AI models while their high-profile case plays out in court.

DIDDY TEQUILA CASE – In a separate legal battle involving Diddy, a New York appeals court hit pause on his lawsuit against alcohol giant Diageo that accused the company of racism and failing to adequately support his DeLeon brand of tequila. The court stayed the case while Diageo appeals a key ruling about how the dispute should proceed.

‘The Powerpuff Girls’ Drop Nostalgic Collaboration With Igloo to Celebrate 25th Anniversary

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The Powerpuff Girls are celebrating their milestone 25th anniversary with a collaboration that boasts “sugar, spice and everything nice.” To help commemorate this major moment, the superhero trio teamed up with Igloo to expand their limited-edition collection with a mix of on-the-go gear (including travel backpacks) that’ll have your inner-child beaming with delight.

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Back in March 2023, the two dropped an exclusive cooler in celebration of International Women’s Day, but now the collection has grown with the addition of a travel can, backpack and lunchbox. Starting Monday (Nov. 20), you can shop the expanded collaboration and stock up on the travel necessities.

Whether you consider yourself more of a Bubbles, Buttercup or Blossom, this collaboration is full of gear to take with you on the go to save you from getting hungry or thirsty later on. It also makes the perfect gift for fans of the series or those nostalgic for classic ’90s shows. Keep reading to shop our picks from the collaboration or view the entire collection here.

Igloo

Powerpuff Girls Little Playmate Cooler

Built with seven quarts of space, this Powerpuff Girls-themed cooler comes with insulating inner materials to keep your food and drinks at a cool temperature, while the exterior boasts an adorable pink and red coloring paired with graphics of the superhero trio. It also includes a built-in handle to help easily transport your snacks and beverages from one place to another.

Igloo

The Powerpuff Girls Square Lunch Bag

Take Blossom, Bubbles and Buttercup to lunch with you in the form of this spacious Powerpuff Girls Lunch Bag. It comes with two pockets (a front one for extra storage and a main interior). The main pocket is square-shaped to fill with your lunch, snacks and more — plus, it’s designed with an insulating material to keep your goodies fresh and is spill-proof using a wipeable material.

Igloo

The Powerpuff Girls 16 Oz Can

Make sure your soups and beverages aren’t spoiled by the heat or cold outside. This travel can is made with a stainless steel interior to help keep your beverages at the right temp, while the handy cap is leak-proof and features the iconic pink and red shades the trio is known for.

That’s not all either! Since this is the 25th anniversary, the superheroes teamed up with even more brands to celebrate the major milestone including Casetify as well as features a slew of collectable merch to snag on the Warner Brothers shop.

For more product recommendations, check out our roundups of the best music coolers, camping gear and portable grills.

Mars Williams, Saxophonist of The Psychedelic Furs & The Waitresses, Dead at 68

Mars Williams, illustrious saxophone player who played a significant role in bands like The Psychedelic Furs and The Waitresses, died on Monday (Nov. 20). He was 68 years old.

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The Chicago Tribune revealed the news, noting that the Chicago area native died after a year-long battle with ampullary cancer. According to a GoFundMe his family set up to help cover treatment costs, Williams was diagnosed with the rare cancer in 2022. The family has since updated the platform with news of his death. “It’s with great sadness that we send this message to let the many people who loved and supported Mars Williams know that he passed away earlier today after his year-long struggle with cancer. He was surrounded by family and friends, both in person and around the world, who held him close, and loved him dearly,” the statement reads.

The note continued, “Until the end, Mars’ inexhaustible humor and energy, and his love for music, pushed him forward. As it became clear in late summer that his treatment options were coming to an end, he chose to spend six weeks of the time he had left living as he had since he was a teenager — out on the road performing night after night. Those last performances with the Psychedelic Furs will live on with all of the other incredible contributions that Mars has made as a person, and as a musician, and that boundless energy will continue to inspire.”

Williams studied jazz at DePaul University before he moved to New York City, where he began playing with the Psychedelic Furs and The Waitresses. As part of The Waitresses, he played on songs like his first Hot 100 hit, “I Know What Boys Like.”

Over the course of his career, he performed and recorded with additional acts like Billy Idol, The Killers and more.

Lana Del Rey Says She’s Actually ‘All Over’ the First Version of Taylor Swift’s ‘Snow on the Beach’

When Taylor Swift first released her Midnights track, “Snow on the Beach,” fans were confused. The song featured Lana Del Rey, but the singer was barely heard throughout the track.

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Swift listened to her fans and soon released an updated version in May titled, “Snow on the Beach (Feat. More Lana Del Rey).” The track highlights Del Rey more, as she sings the entire second verse. In a new interview with Harper’s Bazaar shared on Tuesday (Nov. 21), Del Rey explains that she actually had a huge role in the first iteration of the song.

“That was actually the song Taylor wanted me to sing on. If I think someone’s song is perfect, I will act as a producer in it,” she explained. “I can mimic almost anyone, so I am all over the first version of ‘Snow on the Beach.’ I layer and match her vocals perfectly, so you would never even know that I was completely all over that first song. She wanted me to sing the whole thing, but if it ain’t broke, don’t fix it.”

The original version of “Snow on the Beach” became Del Rey’s highest charting song on the all genre Billboard Hot 100 to date — following the release of Midnights in November, the track debuted and peaked at No. 4 on the chart, where it spent a total of six weeks on the all genre tally. In a previous interview with Billboard, Del Rey that she wasn’t aware she should have added more to “Snow on the Beach.”

“I had no idea I was the only feature [on that song]. Had I known, I would have sung the entire second verse like she wanted. My job as a feature on a big artist’s album is to make sure I help add to the production of the song, so I was more focused on the production,” she said. “She was very adamant that she wanted me to be on the album, and I really liked that song. I thought it was nice to be able to bridge that world, since Jack [Antonoff] and I work together and so do Jack and Taylor.”

Elsewhere in the Harper’s Bazaar interview, Del Rey gushed over having the same tattoo as Adele — the word “paradise” written on the side of their hands. “I think we must have been on the same wavelength,” Del Rey said. “That’s actually a cool little connection. I like that. That’s amazing.”

Adele

Adele performs on stage as American Express present BST Hyde Park in Hyde Park on July 02, 2022 in London, England.

Gareth Cattermole/Getty Images

Watch the full interview below.



All 25 Times an Album Has Sold 1 Million Copies or More in a Week: Taylor Swift, Adele & More

In a world full of albums, only 23 have ever sold a million or more U.S. copies in a single week — and only one has ever done so more than once, much less three times total.

At least, that’s what can be gathered since Luminate began electronically counting music sales in 1991, back when the data tracking company was known under as SoundScan. Luminate’s sales, streaming and airplay measurements are what power Billboard‘s weekly charts to this day, including the foremost album ranking in the country, the Billboard 200.

But which artists are part of the elite few who’ve accomplished this elusive feat? Spoiler alert: Taylor Swift, the record-setting album sales queen herself, is featured quite heavily on this list, as are a handful of famous boy bands (and yes, that does include a certain British quartet whose record for most No. 1 albums of all time is still unbeaten more than 50 years after breaking up). Plus, look out for Whitney Houston’s contribution (hint: it’s the bestselling movie soundtrack of all time) as well the sole strictly country artist to ever push a mil in a week (another hint: he’s got friends in low places).

Only one person, however, has plowed past one million copies more than once with the same project — Adele, whose album of the year winner at the 2017 Grammys 25 will only ever be matched if another record someday sells more than a million weekly copies not just twice, but three separate times (you may not want to hold your breath on that).

With that in mind, keep reading to see all 25 times an artist has sold 1 million or more album copies in a week below.

Tate McRae Has Her First Top 10 Hit — How ‘Greedy’ Should She Be About It Climbing Even Higher?

It’s been quite a past week for Tate McRae in the Billboard realm — in a span of about five days, she made her first-ever appearances on the cover of Billboard magazine, on stage as a Billboard Music Awards performer, and in the top 10 of the Billboard Hot 100.

The last two appearances come courtesy of McRae’s breakout hit “Greedy,” which takes a more pop-forward, triple-threat approach to top 40 domination than her moodier prior hits “You Broke Me First” and “She’s All I Wanna Be.” In addition to delivering the song at Sunday’s (Nov. 19) BBMAs, McRae also performed the song (along with ballad “Grave”) on Saturday Night Live the night before — another first for the 20-year-old rising star.

How did “Greedy” become the song to take McRae to the next level of stardom? And what chances does it have of becoming her first No. 1? Billboard staffers discuss these questions and more below.

1. “Greedy” moves from 11-8 on this week’s Hot 100, becoming her first top 10 hit on the chart in its ninth week. Did you expect the song becoming this kind of breakout hit for her?

Rania Aniftos: Yes, the second I saw tube girl take over TikTok lip syncing “Greedy,” I knew Tate had found her hit. Every other video on the platform had “Greedy” in it.

Kyle Denis: Yes. I covered this song for Billboard’s Trending Up column back in September; the success of “Greedy” has been the result of a coordinated promotional effort beginning with a TikTok snippet strategy and adding several show-stealing live performances along the way.  

Lyndsey Havens: Oh yes. Tate has been developing as an artist and building the foundation for her career since 2018 — and even before that, if you count her teenage YouTube series Create With Tate. She’s already had a taste of success with breakout hit “You Broke Me First,” so the stage was set. And with a song like “Greedy” — with its endearing swagger and nostalgic production — the pieces finally fell into place.

Jason Lipshutz: No on the first listen, yes on the fifth listen. After a few plays, “Greedy” fully won me over, both from the standpoint of being insanely catchy and as a subtle showcase of the snappy rhythmic-pop sound in which Tate McRae has created a pocket. McRae is no stranger to top 40 radio — “She’s All I Wanna Be” and “You Broke Me First” both performed well in recent years — but “Greedy” is more immediate, charismatic, and downright memorable than those prior hits. As soon as it clicked into place for me, I expected “Greedy” to become her first top 10 hit.

Andrew Unterberger: I dunno if I could’ve ID’d at it as a sure top 10 hit in a blind taste test, but certainly once the TikTok hype of the song led to a top 40 bow for it on the Hot 100, clearly big things were in the works here — especially after the debut of its hockey rink-set music video, as star-making a moment for McRae as the song itself.



2. What do you think the biggest reason is that “Greedy” has been the single to bring McRae to a higher tier of hitmaking?

Rania Aniftos: We’re still in this interesting time in music in which Gen Z is super nostalgic. They wish they got to experience the height of the Y2K pop star era with Britney Spears, Christina Aguilera, Jessica Simpson, etc. So, when Tate came out with “Greedy” and it’s sassy and flirty and feels fresh out of 2002, it’s exactly what her demographic has been looking for. 

Kyle Denis: It’s probably her most singular offering yet. Tate McRae is clearly a talented performer, but despite her previous success, a lot of her those singles felt faceless and nondescript. While “Greedy” isn’t the most innovative pop song of the year by any means, its undeniable chorus and connection to the “It Girl” aesthetic allowed it to unlock a new level of hitmaking for McRae. 

More specifically, however, the TikTok snippet campaign is what really sewed up the success of “Greedy.” Thanks to the campaign, McRae has been prepping consumers’ ears and stoking their interest for “Greedy” since the beginning of August. Couple that with two back-to-back live performances that flaunt her impressive dance skills and you’re left with a good old fashioned pure pop smash. 

Lyndsey Havens: I think there are two main drivers here. The first is that she’s sort of talking her s—t a bit… It’s clear she’s coming at the song from a place of confidence and matured sass, two traits that are an easy sell for most pop fans. That self-assuredness is not only heard but also seen in the steamy music video, in which McRae flexes the fact that she is also a professionally trained dancer. I think the combination of a catchy pop hit and eyebrow-raising choreography is fueling this moment. 

Jason Lipshutz: The hook here works across formats — from isolated TikTok clips to pop radio to streaming playlists — in a way that makes “Greedy” fit into a ton of different listening scenarios. Scrolling through social media and stumbling across choreo routines? Rolling through a new pop playlist on Spotify, or top music videos on YouTube? “Greedy” is malleable, and can entertain within a variety of pop contexts, which is why it’s caught on with such force over the past few weeks.

Andrew Unterberger: May or may not be the biggest factor, but I think “Greedy” is one of a few singles to benefit from the (relative) absence of Ariana Grande in the pop landscape. Grande was such a mighty top 40 fixture from 2018 to early 2021 that these past couple years without her doing much has left an unoccupied lane on radio and in the culture when it comes to flirty, quippy, swaggering pop&B — one that McRae was more than ready to swerve into here.

3. McRae released her follow-up single “Exes” last Friday — do you think the song will follow “Greedy” to hit status, or does it feel like “Greedy” will be tough for her to match?

Rania Aniftos: While “Exes” is equally as catchy to me, it’s going to be tricky to grab onto the viral success of “Greedy.” It really found the balance of having a TikTok trend attached to it, as well as it being marketable for radio, TV and other mainstream channels. I am rooting for “Exes,” though! It’s such a good song.

Kyle Denis: “Greedy” still has plenty of room to grow, so I’m not sure “Exes” will even get to half of what “Greedy” can achieve. “Exes” is fine. It’s less instant that “Greedy,” which could delay how quickly it takes off. Nonetheless, McRae is already growing into an artist who can really move the needle for her singles through live performances. Perhaps with the right stage, “Exes” will explode into its full potential. 

Lyndsey Havens: I think “Greedy” will be tough to match. I think instead of trying to compete, “Exes” — and her entire forthcoming album Think Later — will only help “Greedy” sustain. If anything, “Exes” proves that “Greedy” wasn’t a lucky one-off or contrived — it’s Tate fully loaded.

Jason Lipshutz: “Greedy” is still going strong, so if “Exes” is going to have a moment, I’d guess that such a moment is still a couple months away. That said, I do like “Exes” quite a bit: the bruising confidence and deep percussion of “Greedy” is carried over, and McRae’s personality is even more on display on the follow-up track. I could foresee a world in which “Ohh, I’m sorry / Sorry that you love me,” followed by that indelible cackle, becomes a quick-spreading meme at the top of 2024, and McRae continues her recent hot streak. 

Andrew Unterberger: “Exes” has its moments and is off to a pretty strong start on streaming, so it’s probably going to be a factor on the charts in the weeks (months?) to come — but it will have to shine while remaining in the shadow of “Greedy,” which is certainly not going anywhere anytime soon.



4. The last week has represented a major moment for McRae, not only with the top 10 ascent of “Greedy” and the release of “Exes,” but also a Billboard cover story, a BBMAs performance and a musical guest turn on Saturday Night Live. Do you think having so much Tate McRae in pop culture at once will ultimately have a positive or negative effect on her career momentum?

Rania Aniftos: Positive, for sure. People who had never heard about her before or aren’t on TikTok are now getting introduced to her via more mainstream platforms like SNL or awards shows. This is exactly the exposure she needs to transcend from social media star to full-fledged pop star.

Kyle Denis: Definitely positive. For the past few years, Tate McRae has been floating around the ever-revolving cast of mid-tier pop stars that aren’t necessarily popular by measure of celebrity or name recognition. This level of exposure both helps consumers visually differentiate her from her peers, and showcases why she’s a pop star who people should bother caring about beyond whatever radio hit they may have in rotation at a given moment. Not to mention, she has an album due before the year’s end – this is all great for her! 

Lyndsey Havens: I think this succession of major wins will only have a positive impact overall, simply because these things are not happening to her right out of the gate. These things are happening as she’s promoting her second album. They are happening after years of development and key internal changes (like new management) that are finally paying off. I think this moment is happening because of the momentum she already had — and not necessarily because of the momentum from this moment. 

Jason Lipshutz: Positive, for sure. McRae has had hits in the past, but has not had the wider name recognition to turn those hits into sustained pop stardom; “Greedy” has functioned as a best-case breakthrough scenario, though, by not only becoming her highest-charting hit to date, but concurrently introducing McRae, the artist, to a mainstream audience. We’ll see how far that introduction takes her in the coming months and years, but she has her foot in the door now, and that’s all that matters.

Andrew Unterberger: Honestly, flooding the zone is rarely a bad move for pop artists in 2023. There’ll be some backlash, sure, but being at the center of discussion is something precious few artists can manage for any (not career-killing) reason in 2023 — so if you have the opportunity, may as well grab it.

5. Now that the song has reached No. 8 on the Hot 100, how much higher do you think it can still climb — will it get to the top five? How realistic a goal would a No. 1 be?

Rania Aniftos: Top five seems doable to me, but as long as Taylor Swift keeps releasing re-recordings and as long as “Cruel Summer” still exists, No. 1 is tough for anyone to reach.

Kyle Denis: I think the sky is the limit for “Greedy.” I can definitely see this growing into one of those songs that holds throughout the holidays season and enters the new year as one of the most dominant songs in popular music. She still has ample opportunities for live performances, the built-in boost of album release week and potential remixes. The song just hit the top five on Billboard‘s Pop Airplay chart this week, so its journey is far from over – especially as older 2022 hits and Taylor Swift’s vault tracks continue to free up space in the Hot 100’s uppermost regions. 

Lyndsey Havens: I would love to see “Greedy” enter the chart’s top five — and I do think once Think Later arrives in a few weeks that could happen. And hey, call me crazy but… historically, songs that end one year near the top can often begin a new year with even more attention as a result of how slow January can be. So, while a No. 1 spot seems a bit unlikely, I wouldn’t say it’s impossible. 

Jason Lipshutz: Top five is realistic for sure, although No. 1 will be difficult with a flood of holiday music about to return to the top of the chart. Who knows, though? It’s not like Burl Ives is performing intricate choreography in hockey pads!

Andrew Unterberger: Top five should definitely be in Mcrae’s sights for “Greedy,” which is still clearly on its way up, and if she and her RCA label have a remix in reserve — maybe even one featuring AG herself? — it could absolutely have a shot at No. 1. The key will be timing, and in fact it may be best for McRae & crew to wait out the Holiday crush and go for the gusto in early 2022.

Morgan Wallen Is No. 1 Billboard Hot 100 Artist of 2023 & More | Billboard News

Morgan Wallen tops Billboard’s 2023 year-end Hot 100 Artists list, while “Last Night” leads the year’s Hot 100 Songs recap.

Rania Aniftos:
Morgan Wallen had a big year on the Billboard Hot 100, and as the year wraps up, it looks like the country star is at the top of a few year-end lists.

Morgan Wallen rules Billboard‘s 2023 year-end Hot 100 Artist chart while “Last Night” leads the year’s Hot 100 Songs recap. Morgan is the first artist that primarily records country music to claim the top Hot 100 Artist title since Kenny Rogers in 1981.

“Last Night” leads the 2023 year-end Hot 100 Songs chart, having topped the weekly ranking for 16 weeks beginning in March, the most for a non-collaboration in the survey’s 65-year history.

Meanwhile, his album One Thing At a Time tops the 2023 Billboard 200 Albums recap, and “Last Night” also grabbed the No. 1 title on the 2023 year-end Streaming Songs chart.

Congrats, Morgan!

Watch the full video above!

Quick! Hulu Subscription Slashed to 99 Cents a Month for Black Friday

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Hulu isn’t messing around with its 2023 Black Friday deals! Whether you’re a new subscriber or eligible returning member, the platform is offering one of its most affordable streaming options to date: a year of its ad-supported plan for just $0.99/month (regularly $7.99/month). Yes, you read that right. Less than a dollar a month.

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Hulu officially launched the new promotion on Tuesday (Nov. 21), but it won’t last forever. From now until next Tuesday (Nov. 28), you can take advantage of 88% of savings and get ready to stream your favorite holiday movies, TV shows and more for the entire holiday season.

All you have to do is sign up for Hulu’s ad-supported plan and you’ll automatically receive the discount, as well as instant access to the entire Hulu library. Click here or the button below to redeem the offer.

Holiday films and series won’t be the only content you have access to: The Hulu library is filled with original and exclusive TV shows and movies from FX, ABC and more, such as Not Okay, Sex Appeal, White Men Can’t Jump, American Horror Story: Delicate, American Idol, Bachelor in Paradise, Only Murders in the Building, The Handmaid’s Tale, Normal People, How I Met Your Father, What We Do in the Shadows, Little Fires Everywhere, The Great, Shrill, Pen15 and The Bear.

You’ll also be able to create six profiles under one account, watch programs on up to two devices at once, and stream content on any smart device.

Hulu also offers other plans to personalize to your needs, like its ad-free premium plan ($17.99/month) that gives you everything in the ad-supported plan as well as the ability to download and watch eligible programs offline. Want live TV options? Hulu + Live TV gives you access to the entire Hulu library as well as hundreds of live TV channels to watch your favorite shows and sports the day and time it airs — and all starting at $70/month. Did we mention you’ll also get a 30-day free trial when you sign up?

If you’re looking for even more savings, you can bundle Hulu with Disney+ and ESPN+ starting at $14.99/month, which will triple your library of offerings.

Universal Music Beats $750M Lawsuit Over Spotify Equity Filed By ’90s Rap Duo Black Sheep

Universal Music Group (UMG) has won the dismissal of a closely-watched class action that challenged the fairness of its 2008 purchase of shares in Spotify — a case that accused the company of taking lower-than-market royalty rates in return for a chunk of equity that’s now worth hundreds of millions.

The lawsuit, filed last year by the members of the ’90s hip-hop duo Black Sheep, claimed that UMG had secured its now-lucrative stake in the then-nascent streamer by signing an “undisclosed, sweetheart deal” that left artists underpaid to the tune of $750 million. UMG has called the claims “patently false.”

In a decision Monday (Nov. 20), U.S. District Judge Jennifer L. Rochon ruled that even if UMG had taken below-market royalty rates from Spotify in return for equity, doing so would not have breached its contracts with artists — which give the music giant “unfettered discretion” to license its recordings as it sees fit.

“Plaintiffs argue that UMG exceeded the bounds of its discretion under the contract by making an undisclosed licensing deal in exchange for Spotify stock, for which UMG is withholding artists’ rightful share … of the proceeds UMG reaped,” the judge wrote. “But they do not square that conclusion with UMG’s unlimited right to license their work.”

Black Sheep members Andres “Dres” Titus and William “Mista Lawnge” McLean sued in January, claiming Universal acted in “bad faith” when it secretly acquired a 5% stake in the “fledgling streaming service” in 2008 for just a few thousand dollars. The real payment to Spotify, the lawsuit claimed, had been UMG’s willingness to accept “substantially lower royalty payments” — an arrangement that benefited UMG and Spotify but “shortchanged artists” and “deprived” them of fair royalties.

“Universal concealed from artists that it acquired Spotify stock and that royalty payments were depressed as a result,” lawyers for the duo wrote in their complaint. “Over time, the value of the Spotify stock that Universal improperly withheld from artists has ballooned to hundreds of millions of dollars.”

When the case was filed, Universal called the claims “patently false and absurd.” In later court filings, the company flatly denied the core allegation: “UMG disputes that the equity stock acquired in 2008 was part of the consideration that Spotify provided for a license to UMG’s music catalog.”

Reps for both UMG and Black Sheep did not return requests for comment on Tuesday.

The major music companies all acquired equity in Spotify during the streamer’s early days. According to a 2018 report by Music Business Worldwide, the then-Big Four music companies (Universal, Warner, Sony and EMI) plus Merlin paid just €8,804 total for a combined 18% of the streamer divvied up between them. The role that royalty rates played in that deal, and whether artists would eventually see some of the profit, was hotly debated for years.

After Spotify went public in 2018, it started to become clear just how valuable those stakes had become. Sony Music sold 50% of its shares for $768 million in April 2018, followed by Warner selling its entire stake for $504 million in August 2018. Both later made good on previous pledges to disburse some of the proceeds to artists, although reportedly with differing stipulations.

Universal has yet to sell its shares in Spotify, but it made a similar pledge in March 2018. Later that year, when Taylor Swift signed with the company, she reportedly required that UMG further promise to distribute the money to artists regardless of unrecouped balances — meaning artists will be paid regardless of whether they still owe the label money.

But in their lawsuit, Black Sheep argued that such promises were not good enough. They said Universal had already wronged many of its artists in one of two ways — simply by taking lower rates and thus reducing their royalty payments, or by failing to disburse the profits of their equity stakes as royalties.

In Monday’s ruling dismissing the case, Judge Rochon said she did not even need to decide whether or not those allegations were true. Instead, she simply ruled that even if they were true, Universal would still not have violated its record deal with Black Sheep.

“The contract’s plain language does not support plaintiffs’ theories,” the judge wrote about the allegedly reduced rates, noting that the deal gave UMG the “sole, exclusive and unlimited right” to license the recordings. “Given this wide discretion, there is no basis upon which to find that UMG breached the contract by accepting a lower royalty from Spotify.”

Judge Rochon also rejected the argument that UMG should have accounted for the equity profits when paying artists, saying the contract only requires payment for revenue that is “solely attributable” to their specific songs.

“Plaintiffs cannot directly trace UMG’s alleged acquisition of Spotify stock to the use or exploitation of their work alone,” the judge wrote. “UMG did not breach the contract by failing to account for its value when paying Plaintiffs their royalties.”

Even beyond the merits of the lawsuit, the judge also said she would have dismissed most of it for a far simpler reason: That it had been filed far past the statute of limitations. If the case had moved forward, Rochon said it only would have applied to royalty payments made after January 2021, not those reaching back all the way to 2008.

Old 50 Cent Clip Of Rapper Dragging Diddy & His Exploits Surfaces

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2003 MTV Video Music Awards - Show

Fans of 50 Cent are well aware of the rapper and mogul’s penchant for commenting on big moments of the culture, typically via his signature sarcastic fashion. An audio clip of the Queens native using that same biting wit has resurfaced and at that time, the target of his barbs was Sean “Diddy” Combs.

Diddy isn’t having the best go of it lately after settling an explosive lawsuit with his ex-girlfriend, Cassie Ventura. 50 Cent has already made a light jab towards Puff Daddy, but what has folks talking is a 2010 audio clip from Fif’s time on DJ Whoo Kid’s Shade 45 program discussing what allegedly were explicit photos of Ventura.

In the audio, it appears that Fif had some photos sent to him by Diddy where the G-Unit honcho questioned the nature of the relationship between the Bad Boy boss and the woman in the photo, which is alleged to be Cassie. Fif had his own set of photos which he was considering uploading to ThisIs50.com.

Whoo Kid inquired as to how things went left between Diddy and 50 Cent, with Fif saying that Puff named a supergroup featuring Busta Rhymes, Rick Ross, Red Cafe, and DJ Khaled the Supreme Team. With the infamous Supreme Team name already being in use by Kenneth “Supreme” McGriff, Diddy later changed the group name to Dream Team.

The clip below jumps all over the place but Fif does mention Cassie’s name in audio, stating that the photos he saw were apparently orchestrated by Diddy.

Check out the audio below.



Photo: Getty