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The Fake Drake AI Song Earned Millions of Streams – But Will Anyone Get Paid?

Over the weekend, a track called “Heart on My Sleeve,” allegedly created with artificial intelligence to sound like it was by Drake and The Weeknd, became the hottest thing in music. By Monday evening, it was all but gone after most streaming platforms pulled it. But in that short time online, it earned thousands of dollars.

“Fake Drake” has a nice ring to it, but the music industry was less than charmed by the fact that a TikToker with just 131,000 followers (as of Tuesday evening) operating under the name Ghostwriter could rack up millions of streams with such a track in only a few days. Even though the legal issues around these kinds of AI-generated soundalikes are still murky, streaming services quickly pulled the track, largely without explanation. Universal Music Group, which reps both Drake and The Weeknd, issued a statement Monday in response, claiming these kinds of songs violate both copyright law its agreements with the streaming services and “demonstrate why platforms have a fundamental legal and ethical responsibility to prevent the use of their services in ways that harm artists.” While a spokesperson would not say whether the company had sent formal takedown requests over the song, a rep for YouTube said on Tuesday that the platform “removed the video in question after receiving a valid takedown notice,” noting that the track was pulled because it used a copyrighted music sample. As of Wednesday, the song had also been removed from TikTok.

What sets “Heart on My Sleeve” apart from other AI-generated deepfakes — including one that had Drake covering Ice Spice‘s “Munch,” which the rapper himself called “the last straw” on Instagram — is that it was actually uploaded to streaming services, rather than just living on social media like so many others. It also was a hit — or could have been one — as the track drew rave reviews online. Once the song caught fire, daily U.S. streams increased exponentially, from about 2,000 on Friday to 362,000 on Saturday to 407,000 on Sunday and 652,000 on Monday before it was taken down, according to Luminate. Globally, the song started taking off too, racking up 1,140,000 streams worldwide on Monday alone.

Those streams are worth real money, too. And since streaming royalties are distributed on a pro-rata basis — meaning an overall revenue pool is divided based on the total popularity of tracks — the royalties earned by “Heart on My Sleeve” is revenue that is then not going to other artists. That’s how streaming works for any song— or sleep sound — but in this case it’s an AI-generated song pulling potential revenue from actual living beings creating music.

Aside from the rights issues at play, that money underlines one of rights holders’ key concerns around AI-generated music: That It threatens to take money away from them. For “Heart on My Sleeve,” the 1,423,000 U.S. streams it received over four days were worth about $7,500, Billboard estimates, while the 2,125,000 total global streams were worth closer to $9,400.

However, streaming royalties are typically paid out on a monthly basis, which allows time for platforms to detect copyright infringement and other attempts to game the system. In a case such as “Heart on My Sleeve,” a source at a streaming company says that might mean Ghostwriter’s royalties will be withheld.

“Heart on My Sleeve” was a wake-up call to the music business and music fans alike, who until now may not have taken the threat, or promise, of AI-generated music seriously. But as this technology becomes increasingly accessible — coupled with the ease of music distribution in the streaming era — concern around the issue is growing quickly. As Ghostwriter — who did not respond to a request for comment — promises on his TiKTok profile, “I’m just getting started.”

John Esposito Steps Down as Warner Music Nashville Chairman Emeritus

Four months after stepping down as chairman/CEO of Warner Music Nashville (WMN) and assuming the role of chairman emeritus, John “Espo” Esposito is resigning the emeritus title effective immediately.

In an email to the WMN staff Wednesday (April 19), Esposito wrote, “It’s that time of year when I head off to Nantucket to relax and reflect. This summer though, I will be reflecting on my next adventures, as I am stepping down as the Chairman Emeritus of Warner Music Nashville today. I’m so proud of what you’re all achieving as a team. I will always be the biggest champion of this team and the artists we signed and developed together. Keep rocking! See you in the fall.”

Esposito gave no reason for the move. However, when reached by Billboard, he said the change would give him more time to work with the T.J. Martell Foundation for Cancer Research as well as “travels and a chance to see the forest for the trees by taking some time.” In March, Esposito was named the chairman of the board of trustees of Nashville-based T.J. Martell, which is rebounding after an embezzlement scandal. “We got the double whammy of the COVID pandemic and somebody being a bad actor,” said Esposito of T.J. Martell in March. “I felt qualified with my knowledge of the organization and passion for them to do what I could to help get us back on track.”

Last June, when Esposito’s retirement as WMN CEO/chairman was announced, longtime WMN executives Cris Lacy and Ben Kline were elevated to co-presidents in preparation for Esposito transitioning to chairman emeritus status at the start of 2023. In early January, Lacy and Kline were promoted to co-chair/co-presidents. 

Under Esposito, who had been at WMN’s helm since 2009 after coming over from WEA Corp. as president/CEO, the division’s market share quadrupled, according to parent company Warner Music Group. The label also said its artists have earned more than 300 gold and platinum RIAA certifications.

When Esposito’s shift to emeritus was announced, Warner Recorded Music CEO Max Lousada said in a statement: “Under Espo’s brilliant guidance over the past 13 years, our Nashville team has built superstar careers, attracted original new voices, innovated in the digital world, and championed the creative community.”

Kanye West Deactivates Instagram Account

Kanye West has bid farewell to Instagram.

The rapper took to the social media platform on Tuesday (April 18) to share a screenshot of the Instagram deactivation page, with the confirmation on temporarily removing his account ready to be submitted. Shortly after his announcement, the account was deactivated.

Ye has had ups and downs with Instagram over the past few years. In March 2022, he was  suspended from Instagram for 24 hours, after some of his posts violated the platform’s policies on hate speech, bullying and harassment. Leading up to the suspension, Ye posted repeated racial slurs underneath a screenshot of Daily Show host Trevor Noah’s Google page.

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Additionally, he had countless posts dedicated to targeting Pete Davidson, who was dating West’s estranged wife Kim Kardashian at the time. He wrote that the Saturday Night Live comedian, whom he refers to as “Skete,” “will get my kids mom hooked on drugs He’s in rehab every 2 months.”

Ye was suspended again in October 2022 following a string of antisemitic remarks, before returning in March 2023 to declare that he “likes Jewish people again” after watching Jonah Hill’s performance in 21 Jump Street.

SNIPES Launches “Pay It Forward” Program To Support HBCU’s

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The Big Homecoming

Foot Locker might have the sneaker game on smash as far as brick-and-mortar stores go, but SNIPES is looking to establish itself as a big-time player as well and is making moves to make us take notice while also supporting the culture.

This month SNIPES is launching their new “Pay It Forward” initiative which is designed to support HBCUs (Historically Black Colleges and Universities) while also empowering the next generation of Black students by supporting their education and providing them a platform to address today’s issues that affect our tomorrow. The Pay It Forward initiative kicked off at Clark Atlanta University this past April 11 in partnership with The Big Homecoming 365 Impact Tour.

The Big Homecoming

“Celebrating the contributions of HBCUs to our nation’s rich history is a responsibility that we all share. At SNIPES, we believe in the power of community and education to create a better future for all.” said Paula Barbosa, VP of marketing for SNIPES. “We are thrilled to launch the Pay It Forward initiative and The Big Homecoming event, which represent our commitment to empowering the next generation of leaders and giving back to the community. Through these efforts, we hope to inspire and uplift students, faculty, and alumni at HBCUs across the country, and to showcase the importance of education and community engagement in creating a better, more equitable world for all.” 

“Partnering with companies that are truly committed to creating consistent impact in the community is important to The Big Homecoming’s reason for existing. We’re more than a music festival, we’re a 365 Impact organization. And partnering with a community committed company like Snipes just helps further and accomplish our Impact goals for HBCUs and communities around the world,” said Amir Windom, Creator of The Big Homecoming.”

The Big Homecoming

During the event, SNIPES committed to providing $50,000 in scholarships to Atlanta students who signed up at their Scholarship Booth to ensure that these students get the help they need to make their dreams come true and hopefully make the kind of change we need in the future going forward.

The Big Homecoming

Props to SNIPES for taking such an initiative for Black college students looking to better themselves while trying to better society as well.

Balls are in your court now, Foot Locker and Jimmy Jazz (we kid, we kid, but nah, for real).

What do y’all think of SNIPES “Pay It Forward” initiative? Let us know in the comments section below.

The Big Homecoming

Photo: The Big Homecoming + 365 Impact / Snipes

20 Questions With Fever Ray: Loving Cyndi Lauper, Being ‘Too Shy to Karaoke’ & Celebrating Latest Album With a ‘Queer Reunion’

In March, Fever Ray released their first new album in over five years, Radical Romantics. The project arrived as a welcome return for the artist, also known as Swedish singer Karin Dreijer (half of the sibling duo The Knife), as they explore the idea of love by questioning, deconstructing and rebuilding the concept in their own intriguing way.

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Filled with 10 metallic synth-pop tracks, which see-saw between atmospheric and industrial, Radical Romantics follows Fever Ray’s 2017 album, the acclaimed Plunge. In support of the new set’s release, Fever Ray will set out on the There’s No Place I’d Rather Be Tour, their first trek since 2018. The U.S. leg kicks off May 1 in Washington, D.C.

In the latest edition of Billboard’s 20 questions, Fever Ray discusses their most memorable recent show at “a wonderful punk venue,” how they celebrated the album’s release (and who they dressed up as… spoiler: it’s from one of their music videos) and much more.

1. What’s the first piece of music you bought for yourself, and what was the medium?

The first record I bought was a 7” with Cyndi Lauper’s “All Through the Night.” I thought it was the best thing I’ve ever heard. I still like it.

2.  What was the first concert you saw?

I don’t remember — my dad took me to some, I guess. But I went to my first festival when I was 15, Hultsfredsfestivalen, in 1990. 22 Pistepirkko I remember [them playing]. That was a great show.

3.  Who made you realize you could be an artist full-time?

I guess I realized it myself when I started to make money out of it. I’ve done it the past 20 years now. Before that I had other jobs as well.

4. What was your first job?

I was cleaning hotel rooms.

5.  Whose career path continues to inspire you most?

I think I get inspired by people who are passionate about what they do, who keep on learning new things, who understand how to combine work with relationships, friends, family and manages to take care of themselves. It can be in any profession.

6. How did your hometown shape who you are?

I lived in the same place from 6 to 18 — it was sort of out in nowhere, outside Gothenburg. There were small streets with the same exact houses in straight rows. Only houses and a lot of forest around. There was a tennis hall, too, so everybody played tennis. Except our family, although my sister started to do that later. I guess music was a way to find a space where I could be me, a way to understand that there’s something else than this.

7. If you could see any artist in concert, dead or alive, who would it be?

I would have loved to see Eurythmics around the Savage album. And Cyndi Lauper when she released “Girls Just Want To Have Fun.”

8. What’s the best or favorite concert you have seen so far this year, why?

I haven’t seen so many unfortunately, cause I’ve been working too much with the tour. But I saw Sarah Parkman a few weeks ago in Gothenburg. She has an incredible voice, it was a great show.

9. What’s the last album you listened to in one sitting?

Bendik Giske’s Cracks, I love it.

10. What’s your favorite album of all time?

Around the World in a Day with Prince.

11. How did you celebrate the release of your third album, Radical Romantics?

We had a big party in Stockholm with many great DJs and performances — people said afterwards it was like a queer reunion after the pandemics. I was there as Demonalisa from the “Even It Out” video.

12. What song on the album was particularly challenging to write?

I think writing is always a mix of easy and light — some days everything is clear and some days everything’s a struggle. I work office hours, mostly. I think routines are the best way to get things done, even though routines also van be a struggle. Days when you don’t get ideas, you just practice — practice a new instrument, practice vocals, practice a new plug-in. You just have to stay in it.

13. You’ve long worked with your brother, and he’s a co-writer on several tracks here. What’s the key to working with family?

I have no idea. I’ve never thought of it like that. I don’t think of family as something blood-related either; family are the people you keep close. It’s six years between Olof and I, so we didn’t share much as kids. I had a strong urge quite early to break out from there, I moved out when I was 18. So it was later we started to do things together — he had started making music by the computer and we played around with it one summer. That’s how it started.

14. If you had to pick one lyric that you have thought about or revisited most since the album released, which one would it be and why?

I think they all mean a lot to me. It’s interesting to perform them live now — you have to learn to live with them. When you write them and record them, you just think about how to tell this specific story, once. But now, you have to make friends with them in another way.

15. What’s your karaoke go-to?

I am too shy to karaoke.

16. What show of yours stands out as being particularly moving or memorable?

My recent one was den Atelier in Luxemburg. We didn’t have any expectations — it’s a bit of a strange city, very clean and a lot of money. Then we played at a wonderful punk venue and the audience was just amazing, we had such a good time.

17. What’s your favorite book?

My oldest kid made me re-read Kathy Acker lately, who I love.

18. What’s your favorite film or TV show?

I love so many films. Those by John Waters are new favorites.

19.. What’s one piece of advice you would give to your younger self?

You have to make friends with yourself. Treat yourself like your own best friend.

20. What remains at the top of your professional bucket list?

I am very grateful of everything that’s happened already. When finishing an album I always think of the last album I’ve made like the very last I will make, that I might do something completely different next time. I don’t have a professional bucket list. I’d like to keep working and collaborate with fun people, there’s a lot of things that needs to be widened and explored.

Erykah Badu Slates 25-City ‘Unfollow Me’ Tour

Erykah Badu is joining the 2023 summer concert circuit with her “Unfollow Me” tour. The 25-city outing, which kicks off in San Antonio on June 11, will feature hip-hop icon Yasiin Bey.

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The predominantly arena tour, produced by Outback Presents, will make its way to Los Angeles, Las Vegas, Boston, New York and Washington, D.C., before wrapping in Grammy winner Badu’s hometown of Dallas on July 23.

Tickets go on sale Thursday. For additional information, visit unfollowmetour.com

Here’s the full itinerary for the “Unfollow” Me tour:

June 11 – San Antonio, TX – AT&T Center
June 13 – Glendale, AZ – Desert Diamond Arena
June 15  – San Diego, CA – Pechanga Arena
June 16 – Las Vegas, NV – Michelob ULTRA Arena
June 17 – Los Angeles, CA – Crypto.com Arena
June 20 – Sacramento, CA – Golden 1 Center
June 21 – Oakland, CA – Oakland Arena
June 23 – Seattle, WA – WaMu Theater
June 26 – Denver, CO – Ball Arena
June 28 – St. Louis, MO – Enterprise Center
June 30 – St. Paul, MN – Xcel Energy Center
July 1 – Chicago, IL – United Center
July 2 – Detroit, MI – Little Caesars Arena
July 7 – Boston, MA – TD Garden
July 8 – New York, NY – Madison Square Garden
July 9 – Philadelphia, PA – TD Pavilion at the Mann
July 11 – Newark, NJ – Prudential Center
July 12 – Norfolk, VA – Chartway Arena
July 13 – Washington, D.C. – Capital One Arena
July 15 – Atlanta, GA – State Farm Arena
July 16 – Charlotte, NC – Spectrum Center
July 18 – Nashville, TN – Bridgestone Arena
July 19 – Birmingham, AL – Legacy Arena at the BJCC
July 21 – Memphis, TN – FedExForum
July 23 – Dallas, TX -American Airlines Center

13 Taylor Swift Songs That Are Way More Heartbreaking Following Joe Alwyn Split

Swifties are still in mourning following news that Taylor Swift and her boyfriend of six years, Joe Alwyn, have broken up.

The shocking turn of events was first reported in an exclusive April 8 piece from ET, followed by additional confirmations from other news outlets citing sources close to the situation. Neither Swift nor Alwyn have addressed the situation, but if those sources are to be believed, the split was perfectly amicable.

So why are fans, who’ve helmed an outpouring of social media grief-posts since then, so sad?

Well, Swifties are particularly invested in the happiness of one Taylor Alison Swift. Longtime fans have been at Swift’s side throughout her self-professed “hopeless romantic” search for true love for 17 years. Alwyn’s steadfast presence for six years felt like the end of a full circle journey for those who’ve been with her since the beginning (as well as younger fans who have experienced the ups-and-downs of her romantic life by listening to the visceral love songs in her back catalog).

That being said, there’s nothing wrong with being sans a significant other, no matter who you are. But the sweetness of lyrics like “My heart’s been borrowed and yours has been blue / All’s well that ends well to end up with you” starts to taste a little salty in lieu of a breakup.

With a heavy heart, Billboard rounds up 13 of the most heartbreaking Taylor Swift songs to revisit post-Alwyn (and no, they aren’t all from Lover). Read them below, but have tissues ready.

YOASOBI’s ‘Idol’ Rules Japan Hot 100 in Week With Six Debuts in Top 10

YOASOBI’s “Idol” rules this week’s Billboard Japan Hot 100, dated Apr. 19, coming out on top among six songs that bowed on the chart this week.

The lineup of the top 10 changed dramatically in a rare week in which the top six tracks were debuts. In particular, the top three songs respectively earned more than 9,000 total points and any of them could have taken the top spot.

YOASOBI’s “Idol” won this close race, racking up points mainly through streaming with 8,868,810 weekly streams and video views with 4,334,923 views, ruling both metrics. The opener for the anime series Oshi no Ko also launched at No. 2 for downloads and No. 22 for radio airplay.

Spitz’s “Utsukushii Hiré” (“Beautiful Fin”) — the theme of the latest Case Closed (Detective Conan) movie Kurogané no Submarine — follows at No. 2 on the Japan Hot 100, ruling radio and coming in at No. 3 for downloads, No. 4 for sales, No. 7 for streaming, and No. 13 for video. With a new album set for release in May, the veteran four-man pop-rock band is off to a great start with its first collaboration with the beloved series.

At No. 3 is SixTONES’s “ABARERO,” launching with 434,274 singles to rule sales and coming in at No. 2 for radio and No. 10 for video. The six-man Johnny’s group’s ninth single sold approximately 35,000 copies more than its previous single, “Good Luck!” (398,252 copies), indicating the band’s growing popularity.

Bowing at No. 4 is MAN WITH A MISSION × milet’s “Kizuna no Kiseki,” the opener of the highly anticipated latest Demon Slayer: Kimetsu no Yaiba TV series, depicting the Swordsmith Village story arc of the popular manga. The collaboration between the anonymous wolf-masked band and enigmatic singer came in at No. 1 for downloads with 38,843 units, No. 20 for streaming with 4,105,630 streams, and No. 12 for radio.

The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, video views and karaoke data.

Check out the full Billboard Japan Hot 100 chart, tallying the week from to Apr. 10 to 16, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.

Can Metallica Rock Morgan Wallen Out of the Billboard 200 No. 1? 

The Contenders is a midweek column that looks at artists aiming for the top of the Billboard charts, and the strategies behind their efforts. This week (for the upcoming charts dated April 22), one of the biggest rock bands of all-time hopes to score their seventh No. 1 album on the Billboard 200 – but it still has to get through today’s top country artist to do so.  

Metallica, 72 Seasons (Blackened): Metallica’s first original album in seven years arrives with no shortage of hype or promotion. The band released four songs in advance of the 12-track set’s April 14 release (including the Mainstream Rock Airplay-topping lead single “Lux Eterna”), held a four-night residency on Jimmy Kimmel Live! during its release week, and even launched a Metallica Logo Generator website last Thursday, which allowed fans to make versions of the cover titled after themselves to share on social media.

And of course, as one of the best-selling bands in rock history, Metallica has no shortage of physical options available for 72 Seasons. There are six vinyl variants for purchase, including standard black, an midnight violet-colored indie store exclusive, a red smoke-colored Target exclusive, a yellow and black swirl-colored Walmart exclusive, and both a smoky black-colored yellow and a black splatter-colored fan club exclusive. There are also two cassette options: a widely available transparent yellow variant, and a smoky black-colored Spotify exclusive.

Will it all be enough to unseat Morgan Wallen’s reigning five-week No. 1, One Thing at a Time – which earned 167,000 equivalent album units in its sixth week atop the chart? It may be close: Metallica should have a clear sales advantage, but without a major streaming hit on the set, it will of course be lagging behind Wallen’s juggernaut in that area (which also has 36 tracks to stream, rather than 72 Seasons‘ 12). The metal gods do have history on their side – their last six official studio albums have all topped the Billboard 200, dating back to their 1991 self-titled blockbuster.

IN THE MIX

Yung Bleu, Love Scars II (Moon Boy University / EMPIRE): Yung Bleu broke out at the beginning of the 2020s as one of the most promising rising singer-rappers, thanks to the Drake-assisted hit “You’re Mines Still” from his successful Love Scars: The 5 Stages of Emotions EP. Three years and a couple studio albums later, he’s back with that mini-set’s sequel – this time a 15-track effort with features from Chris Brown, Ty Dolla $ign and Tink, as well as an Acoustic Deluxe edition featuring four unplugged bonus cuts.

Waterparks, Intellectual Property (Fueled by Ramen): They’ve never had conventional hit singles on radio or streaming, but pop/rock trio Waterparks have been one of the more consistently performing rock acts of the past decade, notching three consecutive albums in the Billboard 200’s top half. This month’s Intellectual Property looks to make it four for four, with four different vinyl variants, four different CD releases and even a pair of cassette options looking to help its cause.  

Ice Spice, Like..? (10K Projects/Capitol): Rap phenomenon Ice Spice’s debut EP has been a fixture on the Billboard 200 since debuting at No. 7 in early February, ranking at No. 187 on this week’s chart (dated April 22). The six-track set should make a sizable jump this week, however, following the Nicki Minaj-assisted remix to Like..?’s “Princess Diana,” which has been one of the best-selling and best-streaming new songs since its Friday release — metrics that will count towards the EP’s totals.  

Niall Horan’s Soothing Rendition of Lizzy McAlpine’s ‘Ceilings’ Will Ease All Your Troubles

Niall Horan joined the BBC Radio 1 Live Lounge on Tuesday (April 18), where he blew fans away with a soaring cover of Lizzy McAlpine‘s viral hit, “Ceilings.”

He performed the track on an acoustic guitar, and his soft vocals amplified the emotion of the song as his backup singers provided ethereal harmonies. “Ceilings” marks the 23-year-old singer-songwriter’s first Billboard Hot 100 hit, peaking at No. 54 on the all-genre songs chart.

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Horan also delivered his own recent single, “Heaven,” which is set to appear on the former One Direction crooner’s third studio album, The Show, which will be arriving on June 9. “Doesn’t get, doesn’t get better than, better than this/ God only knows where this could go/ And even if our love starts to go out of control/ And you let me go up in flames/ Heaven won’t be the same,” Horan sings on the track, again playing acoustic guitar.

“Heaven” marks Horan’s first release since singles “Our Song” and “Everywhere,” his 2021 collaborations with Anne-Marie. Heartbreak Weather, Horan’s previous LP, peaked at No. 4 on the Billboard 200 in March 2020.

Watch his BBC Radio 1 Live Lounge “Heaven” performance below.