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Upgrade your selfie game with this TikTok-viral and Amazon’s bestseller selfie light clip. Whether you’re indoors or outdoors, this portable phone light can help you achieve professional-looking photos or video anywhere, anytime. This versatile clip provides 10 levels of brightness and three different light modes: cool light, warm light and warm cool light.

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For those who have been scrolling on TikTok on a daily basis, you might have come across this one-of-a kind selfie light. Not only can you clip it to your phone, but it’s also perfect for attaching to your laptop, iPad, makeup vanity table and more.

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If you’re shopping on Amazon, consider taking advantage of all Amazon Prime has to offer and sign up for a 30-day free trial, which also comes with access to Prime Video, Prime Gaming and Amazon Music. And to help make sure you get your purchases quickly, being a Prime member means you get fast, free shipping in two days or less with Prime Delivery. 

Amazon

OLRPT Selfie Light with Front & Back Clip

$23.79

$24.99

5% off

For those looking to produce high-quality content — from making TikTok videos to capturing top-notch picture — consider getting this selfie light.

With its compact size and adjustable brightness levels, you’ll be able to adjust lighting to your liking and take it with you wherever you go. According to an Amazon customer, “It’s a total game changer when it comes to getting that perfect lighting for quick posts. Whether I’m indoors or outdoors, day or night, this little gadget ensures that the light is just right every time.”

Another customer stated, “Makes my night pictures quality look better than I could have imagined.”

This easy-to-use selfie light clip can be supported with USB ports or Type-C ports (i.e., laptops, PCs, power banks, USB chargers and car chargers). It is also fully charged in just two hours.

So go get yours now and elevate your content with this quick and easy to use selfie light!

For more product recommendations, check out the best crossbody phone bags, the bestselling vanity mirror, and Amazon tops to elevate your overall style.

When Amanda Rovitz met Megan Boni at a college study abroad program in Sydney, Australia in 2018, she says she “always had this feeling” that Boni had star power. 
“She’s just always been the funniest person I know,” says Rovitz. “I thought she would definitely emerge in entertainment somehow, not as a musician or singer, but as someone in comedy.”

Fast forward five years, and Boni, who is self-admittedly not a musician, has a label deal with Capitol/Polydor/Virgin Germany, and Rovitz, who became a music manager at 1916 Enterprises post-grad, is the one who helped her put it all together. 

It’s all thanks to Boni’s video, poking fun at cliched “song of the summer” TikToks, that made her 2024’s most unexpected viral signing. While Boni admits she was “just having fun” with making the video, known as “Man In Finance,” her signing is also indicative of how major labels are evolving to meet the current demands — and breakneck pace — of user-generated music creation.

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“Did I just write the song of the summer?,” she says to the camera in her viral video, which has been viewed 28.6M times since it was posted on April 30. “I’m looking for a man in finance, trust fund, 6’5”, blue eyes,” she says in a rhythmic vocal fry. 

@girl_on_couch
Can someone make this into an actual song plz just for funzies
♬ original sound – Girl On Couch

Boni, who posts under the handle @Girl_On_Couch, says she made the clip in just a few minutes. “Since COVID, TikTok has been a hobby for me,” Boni says. “I just thought it would be funny to make a video making fun of those single girls who are always complaining about being single, but yet they want an impossible laundry list of things in a boyfriend, and by the way, that’s myself included.”

It’s the sound that launched a thousand remixes. Producers including David Guetta, Alesso, Loud Luxury and Billen Ted immediately jumped on the sound, making it the top line to a number of different TikTok tracks. Now, with the help of Capitol/Polydor/Virgin Germany, Boni is licensing her TikTok vocal to the producers for official releases, the first of which was released May 17 as “Man In Finance (G6 Trust Fund)” with Billen Ted. In it, the producer duo splices together Boni’s vocal, original drums and a sample of “Like a G6” by Far East Movement. 

Rovitz says that even before producers started remixing Boni’s audio, she texted her friend saying the video could really turn into something. Soon, she was proven right: The remixes became inescapable on TikTok, furthering Boni’s initial virality to even greater heights. Almost immediately, several major labels came calling, and Boni asked Rovitz to help her navigate the conversations. “I didn’t really know where to begin,” Boni says.

“Within four days, Amanda and Todd [Rubeinstein, music attorney] had me on calls with labels,” says Boni. “Two days after that we were talking with UTA,” who now acts as her agent as a creator/comedian. Boni says she went from being a totally DIY creator on TikTok to having a full-fledged team in about a week. 

Zach Elgort, vp of marketing at Capitol, says it was a “perfect storm” to sign Boni. “It’s kind of a marketing dream,” he says. Unlike most songs, which start as completed masters and are then posted online in the hopes of gaining organic interest with listeners, this was the inverse. “It was an organic trend [already], which you always hope for. Now, it’s about pushing the actual song we released to DSPs and pitching it to our partners.” 

This success is seemingly more akin to a TikTok “teasing” strategy, where an artist posts an unreleased song to gauge interest from fans first before committing to the release. But the difference with the “Man In Finance” phenomenon is that Boni made the video without the intention of making it into a real, release-worthy song. Still, Elgort says the official Billen Ted version has already been met with “exciting playlisting support” from streamers — it’s been added to Spotify’s New Music Friday and Teen Beats, among others — given that they could already measure listeners’ appetite from the original social media videos.

“Man In Finance” might have been made as a joke, but it serves as a clear indication of how people are creating and consuming music today, where some of the most culturally relevant songs are first (or only) available on socials. “This project shows an evolution of how social media meets music,” says Elgort. 

The Kendrick Lamar and Drake feud, which played out simultaneously with the “Man In Finance” trend, acts as another example of how much music creation and consumption on social media has changed. All of the songs were dropped first on social media, with only a few making it to Spotify and Apple Music.

As MIDiA Research’s Tatiana Cirisano argues in a recent analysis, it’s a sign of the “continued shift in cultural value from streaming to social, which is bifurcating the music industry into two parallel consumer words: LISTEN, where streaming plays the role [of passive consumption]… and PLAY, where social platforms have a grip on culture.”

Moving forward, Elgort and the team at Capitol, along with Polydor and Virgin, are planning to license out Boni’s vocal to more producers who have been making remixes, anointing a few as official, DSP-worthy versions of “Man In Finance.” The plan fits perfectly with the current label strategy of releasing multiple versions of the same song to DSPs. It also shows how quickly and flexibly the majors are now working to sign viral songs and artists. 

“Now, it’s really about figuring out a way to get SEO and search to tie back to the official release of the song… and as more official versions eventually get released to streaming partners, they’ll all be packaged together and help the greater visibility,” says Elgort.

Boni, whose label deal is only a licensing agreement for this one vocal, says she has no intention of writing more songs but is going to have fun with it while she can. “I won’t make more music unless it’s a parody… but I am definitely behind this song,” she says. She adds that she’s interested in appearing at producers’ shows, brand collaborations and more — anything to push the song she says changed her life “overnight” by allowing her to kick start her career as a creator and comedian, build her team and provide enough stability to quit her 9-5.

“I put in my two weeks last Thursday,” she says. “I’m really excited for what’s next.”

JoJo Siwa is ringing in 21 with a bang. The “Karma” singer took to TikTok on her birthday on Sunday (May 21) to share a tipsy video amid her celebratory festivities. “It’s my 21st birthday. I’m drunk as f— right now,” she tells the camera in the clip, appearing to be in her kitchen with […]

Not long after Artist Partner Group (APG) signed Odetari — who specializes in glitchy, racing electronic tracks — last year, the label set up a second Spotify profile for him. Odetari “frequently has two to three different versions of records coming out a month,” explains Corey Calder, svp of marketing and creative services at APG. “If we were to have that all sit on his page, it would feel cluttered and make it hard for his fanbase to follow and track it all.”
This means that “HYPNOTIC DATA – Slowed & Reverbed” and “GMFU – Sped Up” live on a Spotify page called ODECORE, while the original hits will be found by anyone scrolling through Odetari’s own Spotify profile. And this split artist identity is part of a growing trend where acts keep one Spotify account for “official” releases, plus a side account for alternate versions. 

Odetari’s labelmate 6arelyhuman puts remixes on Spotify under the name Sassy Scene. A Spotify account named Mei Mei The Bunny has only uploaded sped-up versions of Laufey singles, four to date. Mark Ambor has a breakout hit in “Belong Together;” his team uploaded the sped-up remix to Spotify through a separate account titled Lucky Socks. 

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Even just a few years ago, creating alternate Spotify accounts for alternate versions of hit singles would’ve seemed wildly unnecessary. But user remixes and edits have proliferated and become popular soundtracks on short-form video platforms like TikTok. 

Listeners often don’t care whether the “slowed and reverbed” sound they find on streaming is an official version generating income for the artist they like or a random upload — they just want to play the track that’s stuck in their head. As a result, labels adjusted by starting to release their own alternate reworks to satisfy this portion of the population. If they’re going to stream “Belong Together (Sped Up)” anyway, it might as well be a version that makes money for Ambor.

The streaming service Audiomack found that uploads of “manipulated songs” by labels — official tracks sped and slowed, pitched up and down, muffled and reverbed — shot up at the end of 2022. The number of these releases has continued to rise rapidly ever since, climbing from under 1,000 a quarter to around 6,000 a quarter.

These remixes can thrive in their own streaming ecosystems. Universal Music Group launched a Spotify account called Speed Radio that only posted sped-up versions of label releases; sped up nightcore did the same for singles from Warner Music Group. 

The goal was “to create another mechanism for growth and a new algorithmic pocket on streaming services that helps increase visibility and discovery,” says Nima Nasseri, a former UMG executive whose role involved helping the company market user-generated remixes. As these Spotify pages amassed followers who enjoyed sped-up audio, they allowed new remixes to reach a larger audience by standing on the shoulders of their predecessors. 

Some remix-focused side accounts exhibit clear links back to the mothership in a way that also helps drive awareness of the main artist project — ODECORE and Sassy Scene songs usually credit Odetari and 6rarelyhuman, respectively, as collaborators. Some of these alter-ego accounts, like Lucky Socks, maintain a degree of anonymity. 

But both cater to a demand: Anyone searching Spotify for a sped-up version of 6rarelyhuman’s “Faster n Harder” finds the Sassy Scene version first. 6rarelyhuman picks up plays (and royalties) that might otherwise have been steered towards an entrepreneurial cover artist. 

ODECORE has an additional function, according to Calder: Eventually, the goal is to turn it into a “sub-label” featuring music from artists signed to Odetari. “Ideally we’ll have a built-in audience already,” Calder says. ODECORE currently has more than 430,000 followers on Spotify, according to Chartmetric; that group functions as a potential launching pad to help Odetari’s future signings reach a wider listenership.

“A lot of what we do internally at APG is create multiple profiles for artists across social channels, and we’ll run fan pages in-house for our artists,” Calder continues. “We have these secondary and tertiary brands that are always on in the background. And so we just applied that same thinking to a Spotify profile.” 

At the moment, the primary downside to releasing remixes under an alter ego is that they don’t count towards the success of the original on the Billboard charts. If artists put out a remix under their own name, consumption of that new version also counts towards chart position (generally, as long this happens within 18 months of the original track’s release and the original is still a “current” on the charts). That’s why stars often put out remixes with big names attached when they’re in tight races for the top spot on the Hot 100. But if Ambor’s alternate version of “Belong Together” is attributed to Lucky Socks, he gets no help from the extra consumption. 

Ben Klein, president of Ambor’s label, Hundred Days Records, acknowledges that “commercially, it makes a lot more sense” to put out remixes under the same artist project. But Ambor is not competing for No. 1 — at least not yet, as the song has only reached No. 84 on the Hot 100 — and the team chose to release “Belong Together (Sped Up)” under a goofy alternate name anyway. 

“We actually took inspiration from the Laufey team when we came up with the idea,” Klein says. “When Mark thinks about his profile, he wants it to be a representation of his music. A sped-up version is meant to be a fun, playful way for people to engage with the song on social media. It’s not a direct connection to his artistry. And I think he just wanted to keep it separate for that reason.”

Calder believes “a lot more new artists” will take a similar approach in the future. As streaming platforms try to capitalize on the homemade remix eruption by adding their own audio manipulation tools, it’s easy to imagine artists encouraging fans to mess with their songs by saying that the most popular fan edit will be posted to an official artist account. Just not the official artist account. 

HipHopWired Featured Video

Source: 6381380 / Getty / Bear
A huge debate on TikTok has been settled regarding bears, men, and who women feel is safer around.
A video of a TikToker asking women on the street if they would feel safer alone in the woods with a bear or with an unknown man, and every woman, except one, resoundingly chose the bear.

As expected, men were in their feelings at the idea of women choosing to be alone with a bear rather than be in the presence of an unknown man due to understandable concerns of safety cause, and historically, men are nuts.

Well, TMZ spoke with a wildlife ecologist who is an expert on bears, and she broke down why the women choosing the bear are not far off in their assessment of men as the more significant threat.
Per TMZ:
Rae Wynn-Grant — a wildlife ecologist who got her PhD in all things bears — laid it out for TMZ … telling us these animals want nothing to do with humans in the wild and avoid us at all costs… unless food is involved, of course. She can’t say the same for guys.

RWG says … “I think this is a clever way for women to suggest to the wider world, particularly to men, that we, as women, feel constantly under threat.”

She adds … “And, that speaks volumes when it comes to time alone with a man compared to time alone with a predator, like a bear.” Rae goes on to say that bears are not naturally aggressive — contrary to the image they’ve cultivated — and they really don’t seek trouble.

Wynn-Grant also says the data is unequivocally in favor of bears over men, and if she had to choose, of course, she would want to be alone with the bear.

Well, there you have it.
You can see her break it down in her own words in the video below.
[embedded content]

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Caffeine eye creams are the latest skincare trend to have taken over TikTok, with more than 91 million videos posted about the skincare product to date. While many affordable eye creams claim to leave a smoother appearance behind, TikTokers are praising The INKEY List’s caffeine eye cream not only for its effective formula, but its wallet-friendly price of just $11 — making it arguably one of the best beauty deals out there.

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What differentiates a caffeine eye cream from the rest is exactly what the name suggests: it uses caffeine. When you apply the ingredient to your skin though, caffeine will not only help wake you up ( by decreasing the appearance of dark circles), but also help reduce eye puffiness as well. This occurs as the ingredient narrows blood vessels and ultimately calms your skin, according to Dermstore.

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The INKEY List’s caffeine eye cream has generated a cult following with one bought every 30 seconds globally, according to the brand. The brand even praised how it’s been used by Alana Haim, which she showed off during a 2023 nighttime routine video for Harper’s Bazaar. Amazon shoppers also can’t get enough of its “smooth application” that also “is quickly absorbed by the skin,” per reviewers.

You can buy the caffeine eye cream online below or find it on Amazon, Sephora and TheINKEYList.com.

The INKEY List Caffeine Eye Cream

$11

$11

$11

For the best results, the brand suggests patting a small amount of the caffeine eye cream around the contour shape of your eye using your index or pinky finger. Make sure it’s evenly distributed and absorbed around the eye area, then follow up with your moisturizer and makeup as usual. Per INKEY List, you can use it morning and night or as much as needed until your desired results are achieved. Amazon reviewers also claim that one tube can last you a few months.

Aamna Adel a dermatologist at the National Health Service hospital in London, U.K., even posted a TikTok describing the benefits of a caffeine eye cream and even recommending The INKEY List’s cream.

“The best results are seen with consistent use,” she says in the video, which has generated more than 43,000 likes.

Along with The INKEY List’s eye cream, the dermatologist also recommended L’Oreal Paris’ Revitalift Eye Serum and The Ordinary’s Caffeine Solution, as good caffeine eye creams, which you can shop below.

L’Oreal Paris Revitalift Hyaluronic Acid Caffeine Serum

$27.97

$29.99

7% off

$27.97

$35.99

L’Oreal’s caffeine eye serum utilizes a paraben- and fragrance-free formula making it more sensitive-skin friendly. Along with caffeine, the eye serum also infuses hyaluronic acid, retinol and vitamin C to help brighten and smooth your under eyes.

The Ordinary Caffeine Solution 5%

$9.16

$9.20

$9.20

More than 6,000 Amazon shoppers have purchased this caffeine eye solution in the last month making it a must-have for your skincare routine. The formula incorporates 5% of a highly-purified EGCG from green tea leaves to help give your under eyes an almost instant boost while also reducing dark circles. We’ve been using this for months and love how lightweight the formula is and how easily it absorbs into our skin. The cute packaging is great for a bathroom #shelfie as well.

Does Caffeine Eye Cream Really Work?

As Adel describes in the TikTok, the results are temporary but you will see them if you keep up with application. Since the caffeine within the formula contains anti-inflammatory properities, this will not only help soothe the under eye area, but also aim to reduce the look of redness, brown spots and dark circles. It can be used day and night or you can just use it in the morning to give your eyes a boost.

Is Caffeine Bad for the Under Eyes?

Caffeine eye creams can actually be beneficial for your under eyes depending on what you’re looking to achieve. Since the ingredient helps shrink the size of red blood vessels, this will help minimize color pigmentation as well as soothe your under eye area for a smoother and more awake appearance.

For more product recommendations, check out our roundups of the best sunscreens, TikTok beauty dupes and stress relieving tools.

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Source: NurPhoto / Getty / TikTok
Following President Biden keeping his promise and signing the bill that could ban TikTok in the United States, the social media platform is suing in hopes of keeping that from happening.

Spotted on the AP, TikTok and its China-based parent company ByteDance sued the US Government, challenging the law and calling for the potential banning of the popular video-sharing app and most young adults’ source of “news” if it fails to find a US-approved buyer.

ByteDance has nine months to find a buyer and gets a three-month grace period if it finds a US-approved buyer.
The lawsuit claims the US Government’s law is an attack on free speech that has never been done before and unfairly singles out TikTok.
Per The AP:
In its lawsuit, ByteDance says the new law vaguely paints its ownership of TikTok as a national security threat in order to circumvent the First Amendment, despite no evidence that the company poses a threat. It also says the law is so “obviously unconstitutional” that its sponsors are instead portraying it as a way to regulate TikTok’s ownership.
“For the first time in history, Congress has enacted a law that subjects a single, named speech platform to a permanent, nationwide ban, and bars every American from participating in a unique online community with more than 1 billion people worldwide,” ByteDance asserts in the lawsuit filed in a Washington appeals court.
President Biden signed the law as part of a larger foreign aid package. This law is the first time the US has imposed a potential ban on a single social media company.
Advocates of free speech argue that the law is similar to the behavior of oppressive regimes like China, which is ironic because the US is trying to keep US citizen’s private data out of the hands of the Chinese government.
More Details From TikTok’s Lawsuit
The lawsuit states that ByteDance has no intention of selling TikTok, which aligns with reports that the company prefers a ban over a sale. However, if it did, ByteDance would need Beijing’s blessing to make that happen.
Another sticking point is TikTok’s algorithm, which has been the “key to the success of TikTok in the United States,” which the Chinese government “made clear” in its lawsuit would be part of any sale.
According to both entities, the new law would force them to shut down in the US by Jan.19 because operating in the US would be technologically and legally impossible.

The lawsuit also claims that a US-only version of TikTok would be technologically impossible because there would be no “operational relationship” between the US TikTok app and the Chinese company.
While we don’t know what TikTok’s fate will be, one thing is for sure: This will be a long, drawn-out situation.

TikTok and parent company ByteDance have filed a federal lawsuit aimed at overturning recently-passed legislation requiring the Chinese company to sell the popular app or face a national ban, arguing that it violates the First Amendment.
In a complaint filed Tuesday in D.C. federal court, TikTok and Byte Dance called the law an “unprecedented” and unconstitutional action aimed at “singling out” one company and “silencing” more than 170 million Americans who use TikTok.

“For the first time in history, Congress has enacted a law that subjects a single, named speech platform to a permanent, nationwide ban,” lawyers for the two companies wrote. “There are good reasons why Congress has never before enacted a law like this.”

The lawsuit came just week after President Joe Biden signed the Protecting Americans From Foreign Adversary Controlled Applications Act, which requires that ByteDance either divest ownership of TikTok by Jan. 19 or face a national ban on the app. Proponents have argued that TikTok presents a national security threat because of its connections to the Chinese government and access to millions of Americans.

Trending on Billboard

In Tuesday’s complaint, TikTok argued that such national security concerns were not sufficient to override the First Amendment’s protections for free speech. The company’s attorneys said lawmakers had failed to “articulate any threat posed by TikTok” and had cited only “speculative concerns,” meaning they were making an “extraordinary and unconstitutional assertion of power” without clear reason.

“If Congress can do this, it can circumvent the First Amendment by invoking national security and ordering the publisher of any individual newspaper or website to sell to avoid being shut down,” TikTok’s lawyers wrote.

The new lawsuit came just days after TikTok – an increasingly influential part of the music industry ecosystem – reached an agreement with Universal Music Group to end a months-long standoff over rights to the music giant’s catalog.

In the new complaint, TikTok argued that it had already spent billions of dollars addressing the potential security risks cited by lawmakers, and had reached voluntary agreements with executive agencies like the Committee on Foreign Investment in the United States to safeguard user data and the integrity against foreign government influence.

“Congress tossed this tailored agreement aside, in favor of the politically expedient and punitive approach of targeting for disfavor one publisher and speaker,” TikTok’s attorneys wrote. “Congress must abide by the dictates of the Constitution even when it claims to be protecting against national security risk.”

TikTok has already had success in court over U.S. efforts to ban the app. Citing the First Amendment, a federal judge in 2020 blocked former President Donald J. Trump from carrying out an executive order barring TikTok from app stores. And last year, a federal judge in Montana overturned a law in that state banning the app, ruling that legislation not only violated free speech, but also encroached on federal authority to regulate foreign relations.

In March, a Spotify account named Lucky Socks uploaded a sped-up version of Mark Ambor’s “Belong Together” to the platform. More than six weeks later, this jaunty take on the folksy original is still earning around 350,000 streams a day, and various high-speed versions of “Belong Together” have been used in more than 400,000 TikTok videos to date.
This is just the latest sign that sped-up remixes — often made at home by amateurs — drive both music discovery and streaming activity. “A big percentage of the population is engaging with music in this way,” says Ben Klein, president of Ambor’s label, Hundred Days Records. “If you’re an audio platform, you need to start allowing people to tap into that.”

That’s exactly what the platforms are doing. At the end of 2023, the streaming service Audiomack quietly rolled out Audiomod, a new set of tools that allow users to fiddle with tracks by changing the tempo, modifying the pitch, or swaddling them in reverb. In March, the company Hook announced that it had raised $3.5 million to further develop a platform that will help artists “monetize the use of fan-generated remixes on social media.” And in April, The Wall Street Journal reported that Spotify plans to introduce its own remixing tools. 

Trending on Billboard

These initiatives signal a growing awareness that user remixes cannot be prevented — kids can make them easily on their phones. Since almost all of these reworks are unauthorized, labels and publishers will stand to gain if fans make and listen to remixes on streaming platforms where these can be paid out like a normal track. (“The next big forefront will be how we get paid for UGC,” Warner Chappell CEO/co-chair Guy Moot recently told Billboard, noting “the real challenge” of identifying all “those really sketchy sped-up versions.”)

And platforms can also benefit if new audio manipulation tools increase engagement or even attract additional users. “We think it can be a way to encourage more users to subscribe,” says Audiomack co-founder Dave Macli.

Audiomack Quarterly Uploads of Manipulated Songs

Courtesy of Audiomack

Creating new remixing capabilities will require the music industry to become comfortable with more flexible licensing agreements that legitimize what was previously a black-market activity — for fans, creating a remix at home without permission is fun; for labels, it’s technically copyright infringement. It remains unclear how artists will feel about labels sanctioning random reworks of their work, and whether listeners will connect with these homemade remixes when they’re not attached to addictive videos on TikTok or Instagram Reels. 

While user remixes and edits are not a new phenomenon, there is a sense around the industry that this behavior — pushing a song’s tempo recklessly fast, or slathering the track in distortion — is especially dear to a new generation which sees altering music as a way of expressing fandom. Audiomack has found that “modders,” who alter more than 100 songs a month, are 50% more likely to be under the age of 20 relative to the average platform user.

“The younger users want to have some control over the sound on their own: ‘hey, what if we f—ed with this a little?’” says Tyler Blatchley, co-founder of the label Black 17 Media. 

As a result, artists and labels often encourage fan remixing because it can be an effective promotional tool. At the same time, they frequently take down the unauthorized reworks that they find on major streaming services, because those divert money from artists’ pockets. Some acts release their own official sped-up or slowed versions to try to capitalize on the popularity of the form. (Audiomack data shows this trend really accelerated at the end of 2022.) 

For the music industry, this patchwork system remains unsatisfactory. “There’s little visibility into what people are doing with the music, the artists don’t get to play a role in how their fans engage, and often they’re not getting paid for [the] consumption” of unofficial remixes, says Gaurav Sharma, the CEO of Hook.

Hook’s app, which recently launched a private beta, offers a more controlled environment for remixing activity, where users can select pre-cleared songs to manipulate and mash together. If a fan creates a new version they love — and, crucially, rightsholders have given permission — they will theoretically be allowed to export that alternate to other platforms when the app launches publicly later this year. In other words, a fully licensed and track-able remix or mash-up could be created on Hook and then go viral on a short-form video platform or in a video game. 

While Audiomod allows users to play with tempo, distortion, and more, they cannot mash one song up with another or export their beloved remix to other platforms. They can share their preferred settings with friends, though, so pals can easily replicate their favorite mix. Plays of an altered version of a song on Audiomack will be paid out the same as plays of official recordings. 

Audiomack has Merlin — the global digital licensing agency for the independent music industry — “signed up for this,” says co-founder Dave Macli. “We are in talks with the majors.” 

At the moment, Spotify appears mostly to have a plan to create some remixing tools in the future. (A rep for the service declined to comment.) The company has been interested in figuring out ways to let users “play with and manipulate music” for years in contexts like a DJ set, according to a former executive. On top of that, “Spotify is trying to seize a lot of creator engagement moments, because TikTok is much more of an engagement platform.” 

While The Wall Street Journal reported that Spotify does not yet have licensing agreements in place for remixing tools, the former exec believes labels “will be all-in for anything that increases plays and gets them a bigger share of the royalty pool.” 

And labels do appear more open to sanctioning user manipulation of their audio recently. In December, for example, the video game Fortnite introduced a new musical experience called “Jam Stage,” which allows gamers to play music with their friends — but every person can be noodling on a different song, creating a strange, cacophonous mash-up in real (virtual) time. 

The former Spotify exec believes the real obstacle to getting official remixing tools in place will come from artists being protective of their work. “What are [labels] permitted to do in their contracts with artists, and how will artists feel about it?” he asks.

At Audiomack, Macli says “we respect an artist’s decision if they don’t want to be a part of [allowing users to remix their songs]. But I think in a way you’re fighting the tide.”

Once platforms and labels sort out licensing, one big question remains: will users make and listen to sped-up remixes on streaming services without the enticement of a compelling visual trend or the possibility of going viral? 

Audiomack users already appear to like sending around the tracks they pitch up or alter in other ways. “Over 9% of all shares on the platform are modifications of songs,” according to Macli.

Though Klein agrees that “there is an appetite for listening to sped-up stuff,” he believes “there’s a much smaller use case in that context.” “Sped-up sounds are really breaking through on audiovisual platforms” — especially TikTok, which has had a fraught relationship with the music business lately. 

Still, Macli says, “the industry is going to have to lean into this one way or the other. They should lean into it as a tech problem that the DSPs should solve.”

Universal Music Group’s three-month hiatus from TikTok ended this week after the companies reached a new, multi-faceted licensing agreement. On Thursday, UMG executives explained why it was worth the wait. 
The bottom line: UMG believes its new licensing deal with TikTok is an improvement over the deal that expired at the end of January. UMG has “substantially improved the total value we’ll derive from this relationship,” CFO Boyd Muir said. Michael Nash, executive vp/chief digital officer, said the new TikTok deal “definitely deliver[s] a fair level of value relative to other short form social platform partners,” which includes Instagram Reels, YouTube Shorts and Snap.  

In Thursday’s earnings call and CEO Lucian Grainge’s internal memo obtained by Billboard the same day, Grainge, Muir and Nash mentioned numerous components of the new deal that can be broken into two camps: revenue and non-revenue features and arrangements. 

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As for revenue, there will be more of it under the new deal — although none of the executives shared specific deal points such as advertising revenue sharing rates. Nash said that “revenue under this new deal does markedly improve over our last deal.” The previous deal amounted to about 1% of UMG’s annual revenues, which works out to about $120 million euros based on 2023 revenue. That’s not much for a platform that commands an average of 58 minutes per day in the U.S., according to eMarketer — almost as much as Netflix and more than YouTube.  

But UMG is getting more value out of TikTok in forms other than royalties. Many of those non-revenue components typically cost money to labels: e-commerce tools, marketing and promotion campaigns and ad credits. Other aspects of the deal have value that’s hard to pin down: data, artist insights, intelligence and new programs and new collaboration opportunities.  

One interesting aspect of the new deal is what Nash called “content management and attribution.” When TikTok users post videos with sped-up and slowed-down recordings, attribution for the UMG recording is credited “not [to] some infringing third party, but the artists,” said Nash. “And that content is better connected with their official presence on the platform.”  

As Grainge outlined in an internal memo to staff on Thursday, the deal also met the two non-revenue criteria: protection against the harmful effects of AI and prioritizing online safety for both TikTok users and UMG’s artists. 

TikTok made “a number of commitments” that respect UMG artists’ works and rights of publicity and supports UMG’s principles on training AI models without consent from rights holders. UMG wants to protect its artists against deepfakes such as “Heart on My Sleeve” by Ghostwriter, which used AI-generated soundalikes of Drake and Kendrick Lamar (both UMG artists). The new deal ensures such fake content will be removed, both Grainge and Nash said. 

Nash also described these efforts to combat infringing content as “elevated requirements” that detect and avoid infringing content,” including leaks, unauthorized remixes and unauthorized AI versions. The deal also contains requirements for improved filtering and stream manipulation detection.  

In addition, TikTok agreed to improve online safety and attempt to mitigate the harmful effects of social media, including hate speech, bullying, responsible use of AI, and addressing infringing content and algorithmic manipulation, Grainge wrote in his memo. 

Social media income might not amount to much today, but it “is increasingly important income to artists, songwriters, labels and publishers,” said Grainge during Thursday’s earnings call, “which is why we’ve pushed so hard and we will continue to push to protect and to develop it.”