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Photo Credit: Nelly by Adam Bielawski / CC by 3.0 The last St. Lunatics member who was still suing Nelly for copyright infringement has dropped his lawsuit. But this battle may not be over yet. St. Lunatics member Ali Jones has dropped the lawsuit the group filed against former member Nelly last year. The filing claimed the group never received proper credit or royalties for Nelly’s 2000 album, Country Grammar. The rest of the group — Murphy Lee, Kyjuan, and City Spud — all dropped out of the suit shortly after it was filed last year, claiming they never authorized legal action to be taken on their behalf. Strangely, Jones and his legal team have not provided an explanation for their decision to dismiss the case. But they might not be walking away without consequence; Nelly’s legal team has urged the presiding judge to consider delaying the dismissal to hold the St. Lunatics members accountable for the rapper’s legal fees. “Plaintiff’s counsel succeeded in its frivolous campaign aimed at forcing [Nelly] to spend money defending Plaintiff’s ridiculous time-barred claims,” wrote attorneys for Nelly. “The Court is respectfully requested to retain jurisdiction and set a briefing and hearing schedule [for potential sanctions].” St. Lunatics, a group of high school friends from St. Louis, are credited with both performing and songwriting across Nelly’s debut album. But their lawsuit claimed the final credits undersold their contributions to the record, depriving them of royalties. “Despite repeatedly promising plaintiffs that they would receive full recognition and credit […] it eventually became clear that defendant Haynes had no intention of providing the plaintiffs with any such credit or recognition,” their filing read. The case was framed as a copyright infringement lawsuit, rather than a legal battle over ownership. This is due to the three-year statute of limitations that was far exceeded, given that Country Grammar was released nearly 25 years ago. View the full article

Photo Credit: Global Gaming League The Global Gaming League has raised $10 million in funding from celebrity investors including T-Pain and Flavor Flav. The league is not focused on eSports, but rather a league that brings together every kind of player. GGL was founded by Grammy-nominated, multi-platinum music producer and entrepreneur Clinton Sparks, in partnership with T-Pain and tech entrepreneur Jeff Hoffman (Priceline, UBid, Booking.com). The GGL is a multi-title gaming league with celebrity-owned teams made up of four players each. Members of the teams are influencers, actors, athletes, artists, casual, and professional gamers. They compete in live events playing everything from first person shooters, sports titles, and fighting games to the latest releases and retro favorites. Speaking in an interview with GamesBeat, Founder Clinton Sparks said he wanted to create a model similar to owning a sports franchise without the headache. “The celebrities don’t have to worry about managing, staffing, recruiting, sales, merchandising, any of that stuff,” Sparks says. GGL owns each team with each celebrity at a 50/50 split. “We’re their partners and we’re their entire back office, the GGL,” Sparks continues. Solyco Capital led the SAFE round, while the rest are strategic individal investors. The first team owners to be revealed include T-Pain, Bryce Hall (TikTok star), and Flavor Flav. GGL will be announcing more team owners in the coming weeks, pulling from music, film, sports, fashion, social media, and gaming. Gaming revenue is projected to surpass $300 billion by 2026—eclipsing TV, film, and music combined. Unlike other media where viewers and listeners can be distracted or multi-tasking, gaming usually requires full focus. For brands, leagues like this are a new way to reach a tuned in consumer. With 74% of Gen Z expressing interest in careers in gaming or digital medial, GGL is creating the infrastructure to meet the demand. “The GGL is positioned to make gaming a household name in the same manner that WWE did with wrestling and the UFC did with mixed martial arts,” Sparks adds. “By systemizing and democratizing an industry that already exists with billions of users and hundreds of billions already being generated.” Clinton Sparks started out as a DJ and record producer in Boston. He created bootleg remixes and mixtapes and hosted the radio show SmashTimeRadio. In 2012, he was nominated for a Grammy for his production work on Lady Gaga’s Born This Way album. He’s also written and produced songs for Akon, Ludacris, 2 Chains, Big Sean, and more. View the full article

The Korean National Police Agency in Seoul. Photo Credit: Gohsuke Takama A step towards reconciliation? Despite its contractual dispute with NewJeans, Hybe’s Ador is bringing out the legal guns to protect the girl group from online harassment. Ador disclosed as much in a lengthy social media post, claiming at the outset that “malicious” comments targeting K-pop artists have seen a “significant escalation” as of late. Said comments include but aren’t limited to appearance-related criticism, “fake news,” and “invasions of privacy,” the Hybe subsidiary spelled out. As some know, Hybe has for years been firing back against the individuals behind allegedly harassing messages. Apparently, though, Ador has taken things a step further by bringing on “additional personnel dedicated exclusively to this matter.” Extra team members or not, it’s impossible to manually find and investigate every relevant online remark. On this front, Ador once again encouraged fans to anonymously report (via a dedicated form) instances of alleged artist harassment. The entity applauded prior submissions as “very helpful in taking legal action against such activities.” “Cases deemed particularly malicious and severe, to the extent that they may constitute criminal acts, are currently the subject of criminal complaints,” the company reiterated. “ADOR has recently filed a complaint with the Seoul Yongsan Police Station and, through continued monitoring and evidence collection, plans to submit additional complaints.” Meanwhile, Ador is also taking aim at NewJeans deepfakes. One “suspect who created and distributed false videos exploiting artists was recently indicted and referred to the prosecution while in custody,” according to the text. In the bigger picture, can Ador’s public support for NewJeans repair their badly strained professional relationship – or at least set the reconciliation wheels in motion? (Besides cracking down on NewJeans critics, Ador today wished Danielle a happy birthday on the act’s Instagram page. At 20 years old, the Australia native is the third-youngest NewJeans member; Haerin is 18, and Hyein is just 16.) Admittedly, given the involved (to put it mildly) nature of the dispute, an immediate resolution seems unlikely. However, the anti-harassment campaign could enable Ador to make inroads with NewJeans diehards, reiterate its status as the group’s agency, and get the compromise ball rolling. As things stand, NewJeans is on hiatus following a temporary injunction ruling in Ador’s favor. This ruling is barring NewJeans’ members from spearheading solo career activities independent of Hybe/Ador; NJZ, which NewJeans members rebranded as for a short time, looks to have deleted its social accounts. A separate hearing about the NewJeans-Ador contract itself ended last week “without progress,” per the Korea Herald. A different hearing yet (pertaining to an appeal of the injunction) spanned only 15 or so minutes yesterday, according to YTN, which reported in more words that both sides had doubled down on their existing stances. In short, NewJeans is adamant that the Ador deal is no longer valid due to multiple violations; Ador insists that the contract remains active. And there’s considerable friction concerning the status (at present and in terms of NewJeans’ future activities) of former Ador head Min Hee-jin. View the full article

Photo Credit: Kate Nash by Man Alive! / CC by 2.0 Kate Nash calls out Spotify for paltry payments, but Spotify responds by saying they sent her check to Universal — so it’s out of their hands. In an all-too familiar situation, another artist has called out Spotify for piddly payments on a significant number of streams. This time, it’s Kate Nash, whose 2007 hit “Foundations” has over 100 million plays on Spotify. But Nash told BBC’s Woman’s Hour podcast that she’s hardly seen a dime. “‘Foundations’ has over 100 million plays on Spotify — and I’m shocked I’m not a millionaire when I hear that! I’m shocked at the state of the music industry and how the industry has allowed this to happen,” said Nash. “We’re paid very, very, very poorly and unethically for our recorded music: it’s like 0.003 of a penny per stream. I think we should not only be paid fairly, but we should be paid very well. People love music and it’s a growing economy and there are plenty of millionaires in the industry because of that, and our music.” She added: “And what they’re saying to artists from non-rich privileged backgrounds, which is you’re not welcome here, you can’t do this, we don’t want to hear from you. Because it’s not possible to even imagine having a career if you don’t have a privileged background or a privileged situation right now.” Spotify has since responded to Nash’s statement, claiming that they’ve sent a significant amount of money to Universal for Nash’s Spotify streams. Therefore, if she hasn’t received ample compensation, that’s between her and her rights holders. “We’re huge fans of Kate Nash. For streams of her track ‘Foundations’ alone — which was released before Spotify existed — Spotify has paid out around half a million pounds in revenue to Kate Nash’s rights holders,” reads Spotify’s statement. “Her most streamed songs were released via Universal Music Group. Spotify has no visibility over the deals that Kate signed with her rights holders. Therefore, we have no knowledge of the payment terms that were agreed upon between her and her partners.” “We do know that British artists generated revenues of over £750 million on Spotify alone in 2023 — a number that is on the rise year on year — so it’s disappointing to hear that Spotify’s payments are not making it through to Kate herself,” the company concluded. Kate Nash also released a statement on her Instagram after she mentioned that she started an OnlyFans account to supplement her income for her tours. She says touring can easily become a money sink; the fact people seem more up in arms about her having an OnlyFans account should shine a light on how hard it is for musicians to make money in the industry. “Don’t be ‘sad’ that I started an OnlyFans to fund my tours. I’s very empowering and selling pics of my arse is fun and funny; sex is fun and funny,” she wrote. “Women being in control of their bodies is vital and something we should all be standing by and fighting for.” “Are you sad music has little to no value? Would you be interviewing me or writing about me or talking about me if I had simply posted ‘going on tour, the business is shit, help me protect my employees and integrity of my show.’” “Would my tour be on the front page of Reddit two days in a row?” she continued. “Fuck no it wouldn’t. My arse is shining a light on the problem. Honestly, I’m such a legend for this.” View the full article

Photo Credit: Weezer by Hunter Kahn / CC by 4.0 Weezer is still playing Coachella this weekend despite bassist Scott Shriner’s wife Jillian pointing a gun at and getting shot by police this week. Police shot Weezer bassist Scott Shriner’s wife Jillian on Tuesday while in pursuit of three suspects who fled on foot during a hit and run. The suspects made their way to Shriner’s neighborhood, where 51-year-old Jillian Shriner confronted police outside her neighbor’s house, armed with a handgun. Authorities say they asked her multiple times to put down the gun, but she allegedly refused and pointed the gun at officers, who then opened fire, hitting her in the shoulder. She was taken into custody a short time later and was taken to the hospital, where she was treated for non-life-threatening injuries. She was also booked absentee for attempted murder, and posted $1 million bond. No one else was injured during the incident, according to authorities. One of the hit-and-run suspects has also been arrested by Highway Patrol officers. The wild story comes just days ahead of Weezer’s planned performance at Coachella this weekend, which Scott Shriner and other sources have confirmed is still happening. Despite his wife’s seemingly random gun battle with police and her subsequent hospital stay, Shriner used the opportunity to promote his band’s upcoming Coachella show. “She’s alright, thank you for asking,” said Shriner in a statement to the New York Post, while out walking his dogs on Thursday. “See you at Coachella!” he added. Weezer was added to the Coachella lineup over the weekend as a surprise replacement, alongside Ed Sheeran, for acts including FKA twigs and Anitta. Naturally, the incident with Jillian left fans wondering whether the band’s set was still a go. They will be playing the Mojave tent on Saturday afternoon. This year’s Coachella features headliners Lady Gaga, Green Day, and Post Malone, with a special set from Travis Scott. View the full article

The Internet Archive and the major labels are discussing a possible settlement in their Great 78 Project copyright infringement battle. Photo Credit: Mick Haupt Multiple years and twists later, the major labels’ copyright infringement lawsuit against the Internet Archive looks to be trending towards a resolution. That’s according to the litigants themselves, which just recently requested a 30-day stay in the case. The presiding judge promptly approved the sought pause, and as a result, we should know sooner rather than later whether the parties will finally put the matter to bed. But as described by Universal Music, Sony Music, and the Internet Archive, which are clashing specifically over the latter’s “Great 78 Project” music-preservation effort, things are trending in the right direction on this front. Both sides “have engaged in and made significant progress in settlement discussions and believe a thirty (30) day stay of proceedings will facilitate resolution of this matter,” they jointly told the court when seeking the stay. Furthermore, the parties “are optimistic that settlement discussions may be successful and that this case can be dismissed,” per the document. At present, we don’t know exactly what those settlement discussions entail, nor do we know for certain why a compromise is now being discussed in earnest. The back-and-forth legal battle initiated in 2023, and the Internet Archive last year came up short with its dismissal motions. However, that the same defendant suffered a largescale hack in October 2024 is worth keeping in mind. More pressingly, so is the considerable artist pushback against the relevant infringement lawsuit. We broke down the straightforward criticism – expressed as part of a campaign organized by Fight for the Future – in December. At the time, approximately 630 artists had signed a letter opposing the “major record labels’ unjust lawsuit targeting the Internet Archive.” Since then (and with the letter no longer accepting new signatures), roughly 850 total musicians have added their names to the message, the appropriate webpage shows. As to where the dispute proceeds from here, the newly issued stay will run through early May. Of course, if a settlement does come to fruition, the parties will jointly seek dismissal. And if a resolution doesn’t materialize during the period, they’ll have 10 days post-stay to submit a new proposed schedule to the court. In other infringement-suit resolutions, Dua Lipa recently beat a “Levitating” copyright complaint, Mariah Carey last month emerged victorious in an “All I Want for Christmas Is You” action, and hip-hop producer Turbo topped a different suit yet. View the full article

Photo Credit: Lady Gaga by Justin Higuchi / CC by 2.0 Coachella 2025 is right around the corner, and there’s still time to plan a trip. Here’s how to score last-minute tickets, parking, lodging, and more. Coachella’s Weekend 1 kicks off on Friday, and this year’s edition of the much-beloved festival features headliners Lady Gaga, Travis Scott, and Post Malone. Other performers include The Misfits, Missy Elliott, Charli XCX, Megan Thee Stallion, Japanese Breakfast, and many more set to play in the California desert. While passes for the first weekend are sold out on the official site, there are still ways to get your hands on Coachella passes before this weekend. In some cases, fans are securing tickets at below face value. Where and When is Coachella? Coachella 2025 takes place across two weekends. Weekend 1 runs Friday, April 11, to Sunday, April 13. Weekend 2 runs from Friday, April 18, to Sunday, April 20. Both take place at the Empire Polo Fields in Indio, California. How Do I Get Tickets to Coachella? The best way to secure tickets for Coachella’s first weekend is through the secondary market. StubHub still has three-day passes available, as well as single-day passes for those who have a tighter schedule to work around. This week, Vivid Seats and StubHub have had three-day general admission passes going for around $700. Single-day passes for Weekend 1 are going for between $700 and $900, while one-day passes can go for even more. For this reason, it can actually be more cost effective to grab a three-day pass — even if you’re planning on leaving early. For those looking to save more cash, Weekend 2 passes on StubHub are going for less than face value, in some cases. Three-day passes for Weekend 2 are going for around $550, with single-day passes at around $700. VIP passes are still available for both weekends, starting at around $1,100. While Weekend 1 is often packed with more special guests than the second weekend, there aren’t too many differences between the two. But every day of Coachella is unpredictable, no matter the weekend. What About Lodging or Camping? StubHub also has plenty of camping passes available, for those who can’t (or don’t want to) snag a hotel close to the festival grounds. For those who do have a hotel booked, there are lots of shuttle passes available to make getting in and out of the festival grounds a breeze. What About Parking at Coachella? General parking at Coachella is free, and parking lots open at 11 AM daily, with gates opening around 1 PM. Those departing Indio on Monday after the festival would be wise to leave in the morning — or after 5 PM — to avoid the crazy post-Coachella traffic. Where’s the Coachella Livestream? — Enjoy Couchella If you’re not headed to Indio and want to enjoy the Coachella experience from the comfort of your own home (Couchella, anyone?), YouTube is the official livestream partner for the festival. Both weekends will be streamed on YouTube, and there’s typically a feed for each stage so you can switch between them. Which artists will be streamed at each stage across both weekends will be announced before the festival kicks off this weekend. View the full article

Kevin Liles, who’s taken a step towards officially seeking the dismissal of a sexual assault lawsuit filed against him by a Jane Doe plaintiff. Photo Credit: Maryland GovPics Universal Music Group (UMG) and 300 Entertainment co-founder Kevin Liles are taking steps to seek the dismissal of a Jane Doe accuser’s sexual assault lawsuit. The major label and the former Warner Music higher-up (who was an exec with UMG’s Def Jam as well as the overarching Island Def Jam in the 90s and early 2000s) made those requests in separate letters to the presiding judge. Focusing first on the actual allegations, the accuser originally levied the claims in a state-level suit this past February. According to the Pfau Cochran Vertetis Amala-repped plaintiff, she started working at Island Def Jam in or around 1999. “Soon” thereafter, “Liles began sexually harassing her, including making derogatory and degrading comments based on her gender regarding her body and appearance,” per the initial suit. The alleged misconduct “escalated” by turning physical between 2000 and 2002, when the plaintiff was allegedly “sexually abused, assaulted and raped by” Liles. As for where UMG fits into the action, the major is facing allegations of “permitting, aiding, abetting, conspiring, ratifying and enabling…the sexual harassment, assault and rape.” Bearing in mind the latter point, Pryor Cashman-repped Universal Music in its letter to the judge pinned any liability for the alleged sexual assault on Liles himself. “Furthermore, UMGR [UMG Recordings] cannot be held liable for the alleged actions of Mr. Liles,” the company’s counsel wrote. “Assuming he had engaged in the conduct alleged, UMGR is a music company and the alleged conduct was indisputably not in furtherance of any business of UMGR.” The major also expressed the belief (in many more words) that the complaint is time-barred. Without diving too far into the legal nitty-gritty here, the alleged victim is suing under New York City’s Victims of Gender-Motivated Violence Protection Act. With that statute, the New York City Council is said to have moved to open a two-year “lookback window” for sexual assault claims. Longer than (and, as described by the defendants, preempted by) the lookback window established under the state-level Adult Survivors Act, this period is said to have run through February 2025. Shifting to Williams & Connolly-repped Liles’ letter, after touting the exec’s career (“one of the most respected members of the music industry”), his counsel took aim at the “patently false and untimely lawsuit.” The accuser “offers zero factual bases for her salacious allegations,” per the text, and, among other things, fails “to explain when these purported acts occurred, where in UMG’s offices they occurred, identify a single person she reported this information to, or who was present.” As to exactly where things go from here, both Liles and Universal Music are seeking a pre-motion conference concerning their plans to formally file for dismissal. View the full article

Photo Credit: Alejandro Luengo The Trump administration’s efforts for a TikTok deal may have gone down in flames thanks to the president’s tariffs. But Trump insists a deal is still on the table. President Trump still says a potential deal to spin off TikTok’s US assets is “still on the table,” just days after it was put on hold and the deadline extended yet again. But China’s displeasure with the recently imposed trade tariffs may have killed any chance for a deal. Trump remains undeterred on the subject. “We have a deal with some very good people, some very rich companies that would do a great job with it, but we’re going to have to wait and see what’s going to happen with China,” said Trump. “It’s on the table, very much.” Last week, the president extended the deadline for China-based ByteDance to divest its US TikTok assets to an American company or face a ban. The latest deadline is now June 19, as Trump has twice granted an extension to avoid enforcement of the ban, originally set to kick in back in January. But lawmakers have been critical of the continued extensions. Democratic Senators Mark Warner and Ed Markey said Trump had no legal authority to extend the deadline yet again. Further, Warner asserts the reported deal on the table would likely not meet legal requirements in the first place. Meanwhile, Senate Intelligence Committee chair Tom Cotton said that while many American investors want to buy TikTok, they would need to cut all ties with China. However, the deal reportedly most up for consideration would allow ByteDance to retain a minority stake in the spun-off US-based company. “These potential buyers may ask Congress to somehow indemnify them for violating the law or immunize them for TikTok’s past crimes against and injuries to the American people,” said Cotton. “To any American who wants to invest in some half-assed TikTok deal, Congress will never protect you from going into business with Communist China.” But it’s the Chinese government who must approve any deal to secure TikTok. Sources close to the matter say work on the potential deal continues ahead of the latest deadline — but the White House and Beijing will need to resolve the tariff dispute first. The law passed last year requires TikTok to stop operating (initially by January 19) unless ByteDance had divested the app’s US assets. Trump began his second term as president the following day and extended the deadline rather than enforcing the ban. View the full article

Photo Credit: Soulja Boy | X/Twitter Rapper Soulja Boy (real name DeAndre Cortez Way) was slapped with a $4 million verdict in a civil sexual assault trial brought by his former assistant. The ‘Jane Doe’ alleges years of physical and sexual abuse during her employment from 2018 to 2020. The lawsuit was originally filed in 2021 with allegations of sexual battery, assault, and intentional infliction of emotional distress. Jane Doe says the rapper hired her as a personal assistant for $500 weekly, but never paid her. Later after a romantic relationship developed between the two of them, she alleges rape, physical violence, and death threats were levied her way. After attempting to leave in 2020, she says the rapper violently attacked her. Now a Los Angeles jury has found Soulja Boy liable and awarded the plaintiff $4 million in compensatory damages. That includes $1 million for future harm from sexual battery, $500,000 from past abuse, and $2,650 in unpaid wages. Now the court will consider punitive damages, which could increase the final total. Jane Doe testified that Soulja Boy raped her repeatedly, locked her in a room without food, and threatened her with a gun. Text messages and witness accounts corroborated some of the claims, including the rapper’s pattern of violent behavior towards Jane Doe—including kicking, punching, and verbal threats. Soulja Boy has denied all allegations, which his lawyer has called an extortion attempt. The jury cleared him of false imprisonment and hostile work environment claims. The plaintiff’s lawyer Ron Zambrano says the verdict is a step towards justice for victims in the music industry. The rapper is facing a still pending lawsuit from a different Jane Doe who also alleges physical violence, sexual assault, and emotional distress. That case involved an incident where she allegedly suffered a miscarriage after the rapper violently beat her. Both lawsuits are a civil claim seeking monetary damages rather than criminal penalties. The trial for the second lawsuit has not yet begun and is expected to begin after the punitive damages phase in the first case. View the full article

Photo Credit: !K7 Create Music Group has announced the acquisition of indie electronic label !K7. The deal was already in motion before the death of !K7 Founder Horst Weidenmueller in February 2025 at age 60. A representative shared the following statement from Weidenmueller. “This transition is a deeply personal one for me, but I know that with Create Music Group, !K7 is in the right hands. Create Music Group shares our commitment to artists, labels, and creativity, and I am confident that this partnership will strengthen !K7’s legacy while opening new doors for the future. I want to thank our incredible team, partners, and artists for being part of this journey—what we have built together will continue to thrive and evolve for years to come.” Create Music Group (CMG) acquired the independent label for an undisclosed sum, marking its second major acquisition this year. The first was a $55 million Deadmau5/Mau5trap catalog deal that CMG struck in March. The !K7 acquisition strengthen’s CMG’s electronic music portfolio, leveraging 40 years of brand equity and !K7’s physical distribution network. “Though Horst Weidenmueller, the founder of !K7 is no longer with us, his words and vision continue to resonate,” shares Tom Nieuweboer about the acquisition. “Over the past 40 years, !K7 has grown into a global force while staying true to its independent spirit. This partnership marks an exciting new chapter for !K7, allowing us to scale our vision while staying true to our core values of independent artistry, innovation, and quality.” “We are thrilled to welcome !K7 and its iconic DJ-Kicks series to the Create Music Group family,” adds CMG’s Senior VP of Global Corporate Development and M&A Eric Nguyen. “This acquisition not only deepens our footprint in electronic music but also reinforces our commitment to forward-thinking music across a wide spectrum of specialist genres represented by its globally respected imprint Strut Records. We’re proud to support the innovative spirit that defines the !K7 catalog. We look forward to powering the next chapter for !K7, it’s exceptional roster of artists, and its visionary label partners around the world.” View the full article

Photo Credit: Google Google has announced it is adding its text-to-music model Lyria to Vertex AI. Vertex AI is now the only generative AI platform with models across all modalities—video, image, speech, and music. Vertex AI can now build a complete, production ready asset starting from just a text prompt, to an image, to a complete video featuring both music and speech. The model was also updated with Veo 2, an advanced video generation model to allow video to be refined and repurposed with precision. It also includes updates to Chirp 3, a groundbreaking audio generation and understanding model. Chirp 3 can create custom voices with just ten seconds of audio input. It allows Vertex to weave AI-powered narration into existing recordings and adds a speech transcription capability that can distinguish between multiple speakers. Finally, Imagen 3 now has improved image generation and inpainting capabilities for reconstructing missing or damaged portions of an image. Google says in alignment with its AI Principles, the development and deployment of Lyria, Veo 2, Chirp 3, and Imagen 3 on Vertex AI prioritizes safety and responsibility with built-in precautions like digital watermarking via SynthID, safety filters, and data governance. Lyria produces high-fidelity audio from just a text prompt. The model can be used to create soundtracks for marketing campaigns, product launches, or immersive in-store experiences—all tailored to brand identity. Lyria enables companies to create sonic branding that resonates with a target audience to foster brand recall. For video production, podcasting, and digital content creation, finding the perfect royalty-free music can be a time-consuming process. Lyria eliminates those hurdles by allowing content creators to generate custom music and tracks in just minutes—with control over the mood, pacing, and narrative of the final piece. Google says this can help improve production workflow and reduce licensing costs for projects that need lots of background music. View the full article

Photo Credit: KTLA 5 News A three-car crash led Los Angeles police to chase down a suspect in his underwear before shooting a woman married to Weezer’s bassist in a wild twist. Jillian Shriner, 51, wife of Weezer bassist Scott Shriner, was shot by police in a strange story that now sees her facing charges of attempted murder. The bizarre story was released by the LAPD and began on April 8 in the Eagle Rock neighborhood, in the eastbound lanes of the 134 Freeway. California Highway Patrol responded to reports of a three-car crash, in which three men fled the freeway on foot. The highway patrol officers called L.A. police for backup. One of the suspects took off into the residential area, stripping down to his boxers and jumping into a resident’s pool. He then watered their garden in an attempt to look as though he belonged there. While searching yards in the area for the suspect, Jillian Shriner is said to have emerged from her home next door, armed with a gun. According to police, Shriner refused multiple orders to drop the firearm, and then aimed the weapon at officers, prompting them to open fire. Shriner was struck in the shoulder, and ran back into her house. During this time, police located and arrested the suspect nearby who had fled the scene on the freeway. Shriner and another woman, reportedly her child’s babysitter, came back out of the house a short time later with their hands up. Police took both women into custody. Police told KTLA 5 News that both women were questioned and later released. However, in their news release on Wednesday, officials said the Weezer’s bassist’s wife Jill Shriner was booked absentee for attempted murder. A 9mm handgun was also recovered from her home. Shriner was reportedly taken by medical personnel with the L.A. Fire Department in an ambulance to the hospital, where she was treated for a non-threatening gunshot wound. No officers or other community members were injured during the incident, police said. The other two men who fled the initial crash scene are still at large. Scott Shriner has been Weezer’s bassist since 2001 and has recorded 12 albums with them. Weezer is scheduled to perform at Coachella this weekend and next, a last-minute addition after several artists were forced to back out. View the full article

Photo Credit: Nicholas Green Superfan apps like Weverse (HYBE) and the freshly-launched Berriz (Kakao Entertainment) have become critical tools for K-pop labels — helping transform fan engagement into scalable revenue streams while addressing core industry challenges along the way. Now, it looks like Warner Music’s superfan app is getting off its starting blocks. Traditional streaming economics often fail to capture the full financial potential of highly engaged ‘superfans’—those who drive music discovery and interact with their favorite acts on a daily basis. Superfan apps and platforms, by contrast, leverage direct-to-consumer models, offering tiered subscriptions, exclusive merchandise, and virtual concerts for the most dedicated fans. While these apps have exploded in popularity among music fans in Asia, US labels are looking to emulate that success. HYBE’s ‘Fan Club’ segment—which includes Weverse—generated $69.7 million in 2023, up 35.9% year-over-year. That’s because superfans spend 80% more monthly on music than the average listener, with 61% stating they purchase both digital content and physical albums. These superfan apps help centralize fan activity, providing labels with granular behavioral data around time spent interacting with an artists’ content, purchase patterns, and more. That data can be useful in informing everything from tour planning to merchandise drops—reducing reliance on third-party platforms like social media. It’s no small surprise that major labels in the United States want a piece of this action. Last year, Robert Kyncl announced that Warner Music would focus on building out its own superfan app, allowing fans to connect with their favorite artists. Kyncl hired a new tech team to build the app, with an initial buy-in from Atlantic star Ed Sheeran. A new profile in The Wall Street Journal of Elliot Grainge makes brief mention of the app, which appears to be going through internal testing. “A beta version rolled out to some employees for testing in the spring,” the WSJ reports. “The app looks like an Instagram feed of only Ed Sheeran posts that users could like and comment on, barebones in both tech and content.” Sheeran shared his feedback with the tech team, with Elliot Grainge is closely working with to get the app ready. “The project suffered from a lack of alignment between the team building it and Atlantic,” the report continues. “Kyncl says Grainge is already working closely with the tech team. ‘They can only build as well to what they’re guided to,’ Kyncl says. ‘They need insights from the people who are on the ground. Elliot’s really good at helping filter this.’” Now a more sophisticated version of the app—that Sheeran actively uses—rolled out to a small group of test users in recent weeks. View the full article

Photo Credit: Shift Instagram is prepping a new push to entice TikTok creators away from the platform as the site remains in limbo in the United States. While Trump offered a second extension on the TikTok ban, the increasing trade war between the US and China has left dim prospects of a deal materializing. Instagram is looking to appeal to creators who want a platform whose stability in the United States is not in question. They’ve added an iPad app and have worked on improving search functionality on the platform to help creators surface content based on specific search terms. While it may not sound like much, that last bit is very important. 74% of Gen Z users report using TikTok as their main search engine—even favoring it over Google. Instagram boss Adam Mosseri said on a recent episode of the ‘Build Your Tribe’ podcast that the platform is actively seeking to improve search. “We’re…starting to invest more in search on Instagram because there’s so much amazing content,” Mosseri said. “Quite frankly, what we call content search—as opposed to searching for an account, actually searching for some type of content—it’s not very good on Instagram.” It’s nice to see Mosseri address Instagram’s lack of quality search filters, such a filters by time posted or posts that mention a specific keyword. Mosseri says part of the issue is that the team that works on search for Instagram has been relatively small until recently. “It’s a long road, but I do think that could also be a really good one for people who are looking for things,” Mosseri continues. “You can imagine, whatever you use Instagram for, it’d be great to be able to find ‘that’ more easily. But also for creators…it should allow content to resurface so that you don’t get all the value in those first 24 to 48 hours.” It will be interesting to see if Instagram can compete with TikTok in the realm of super fans. Super fans who want to see ALL of the content available from their favorite K-pop group have a much easier time doing that on TikTok compared to Instagram—mostly because TikTok has built out search features that can resurface old content with specific keywords in a way that Instagram just doesn’t. View the full article

Photo Credit: Flou For all the attention paid to missing music metadata, copyright infringement, and royalty battles, the music industry often overlooks a potentially bigger issue: chaotic music contracting. Enter Flou, whose CEO, Alexiomar Rodriguez, is helming one of the more promising missions in the music industry: to fix the chaos that surrounds music agreements. Here’s a breakdown of his vision for ‘Music Contracts 2.0’ — including a detailed white paper. What’s wrong with music contracts? For the answer to that question, one must start at the beginning — i.e., the first draft of an agreement. Bad deals happen, and plenty of court cases focus on missed deliverables and differing interpretations. However, according to Flou founder and CEO Alexiomar Rodriguez, the bigger problem lies in the chaos surrounding the contract drafting, signing, and post-signature stages. Rodriguez — an Orlando-based music attorney who cut his teeth in the music industry hotbed of Puerto Rico — battled the same pile of shared docs and ‘versioning hell’ familiar to lawyers, labels, and artists alike. In response, Flou is aiming to reengineer the entire music contracting process, and replace the current chaos with a SaaS-like update that prevents downstream disagreements, metadata issues, and missed deliverables. Just recently, DMN joined forces with Flou to accelerate the industry’s shift to a completely different contracting approach. The very real possibility is that in just a few years, it’s entirely possible that the music industry lands in a totally different — and saner — place. Investors love this kind of problem/solution startup — and Flou is focused on a specific music industry problem. But what is ‘Music Contracts 2.0’? At its core, Flou’s ‘Music Contracts 2.0’ system features a centralized ‘Contract Lifecycle Management (CLM)’ platform that replaces a constellation of disconnected applications and sharing protocols like Gmail and Dropbox. On the creation side, Flou also includes automating contract drafting with templates and forms, streamlining sending, signing, and storing contracts with tracking and notifications, and integrating with other management and royalty systems. The logical solution is rooted in serious pain — felt every day by lawyers, artists, and everyone in between. “Current music contract management is messy, outdated, and leads to lawsuits, lost money, delayed releases, missed payments, and broken relationships,” Rodriguez relayed. Surprisingly, current contracting still features paper-based systems, manual tracking, and reliance on email and spreadsheets. It’s not that the tools themselves are bad, but they are rarely interconnected and frequently impossible to track cohesively. The result is a familiar, headache-producing swirl of disjointed elements. Flou envisions a 2.0 replacement that accelerates deal-making and offers better control on both sides of the table, as well as stronger privacy protection, time savings, reduced costs, and increased efficiency. “Flou is specifically designed for the music industry with pre-made templates, bilingual contracts, smart automation, and a secure central location for all contracts,” Rodriguez explained. “Our goal is to shift the music industry from a slow, stressful, and expensive contract process to a fast, simple, and clear one, ultimately turning contracts into an advantage rather than a headache.” If this sounds like a glass of ice water in your current hell, check out the white paper below – and theflou.com for more info. View the full article

Photo Credit: Karol G by Junta de Andalucia / CC by 2.0 A high court in Colombia rules that Karol G and J Balvin’s track “+57” violated the rights of children due to lyrics that ‘sexualized’ minors. A Colombian high court has ordered Karol G, J Balvin, and several other reggaeton artists who helped record the song last year, including Feid, DFZM, and Maluma, to refrain from publishing music that violates the rights of minors. The 14-page ruling determined that the song did, in fact, violate the rights of children and teens. The song generated controversy upon its release in November, with organizations that defend the rights of children quickly calling it out. “Sexualizing minors reduces them to becoming objects of desire, and exposes them to risks that can affect their development,” wrote the court. The song, called “+57,” is named for Colombia’s telephone country code and talks about a young woman who goes partying “despite having an owner.” The woman, “a hot mama since she was 14,” goes to a club and does shots. Lyrics refer to weed “starting to work,” passing “drinks mouth to mouth,” and “no room for your butt in the car.” Karol G apologized for the controversy on Instagram last year, saying the lyrics had been “taken out of context,” but adding that she understands she still has “a lot to learn.” “None of the things said in the song have the direction they have been given, nor was it said from that perspective. But I listen, I take responsibility, and I realize that I still have a lot to learn,” said Karol G. “I feel very affected and I apologize from the bottom of my heart.” Between the initial backlash and pressure from Colombia’s Institute of Family Welfare (ICBF), the song’s lyric was changed to reference the age of 18, rather than 14. Notably, the song was recorded in Karol G’s hometown of Medellin, Colombia’s hottest tourist destination, and a city known for several major reggaeton singers. But the city has struggled in its fight to protect minors; sexual predators are known to visit the city seeking young women. View the full article

Photo Credit: Rubby Pérez / Instagram Merengue singer Rubby Pérez has died after sustaining injuries during the Jet Set Club roof collapse in the Dominican Republic. He was performing on stage at the time. The Jet Set Club was a converted cinema and hosted large dance events, though authorities have not yet identified what caused the structural failure. At least 124 people died in the collapse of the roof, with 150 others reportedly injured. The death toll is expected to rise as authorities and first responders continue sorting through the rubble. Rubby Pérez was born Roberto Antonio Pérez Herrera in Haina, Dominican Republic. His career as a merengue singer spanned over five decades, with Pérez rising to prominence as the lead vocalist of the Wilfrido Vargas Orchestra in the early 1980s before launching his successful solo career in 1987. That earned him the title of ‘La voz mas alta del merengue’ or “The Highest Voice of Merengue.” Rubby Pérez initially wanted to be a baseball player, but a leg fracture from a car accident at age 15 instead led him to pursue a career in music. He began playing guitar, joined his church choir, and later studied at the National Conservatory of Music in Santo Domingo. His breakthrough with Vargas’s orchestra led to the recording of hits like El Africano and Voló Voló, which brought merengue to international audiences. Known for his energetic performances and powerful vocals, Pérez released albums through 2022—including his final work Hecho Está. His music blends traditional merengue with contemporary influences, earning him multiple awards and acclaim as a genre ambassador. His last performance before taking the stage at Jet Set Club was in Washington Heights, New York on April 4 at La Nueva Espana. Those in attendance described the show as electric, with attendees celebrating the singer and toasting his music. Eyewitnesses report that Pérez encouraged those in attendance to join him at his upcoming set at the Jet Set Club in Santo Domingo. Pérez was performing on stage when the roof of the building collapsed, killing him and more than 124 other people. His team confirmed the death on social media and released a statement mourning the loss of his musical legacy. He is survived by seven children and will be remembered as a cutural icon for his contributions to merengue. His funeral service will be held tomorrow, April 10 at 10 am to 4 pm at the Eduardo Brito National Theater. Afterward, his burial will follow at 5 pm in the Puerta del Cielo Cemetery Park. View the full article

Photo Credit: Edison Research A new study from Edison Research finds ad-supported streaming has more listeners than its paid, ad-free counterparts. For decades, music on the radio was the most accessible and free way to listen to music. But radio stations have traditionally been supported by ads, so listeners were well accustomed to hearing them between songs. The only way to get an “ad-free” experience was by purchasing an album on vinyl, tape, or CD. These days, thanks to streaming services like Spotify, Apple Music, and YouTube, many listeners are willing to pay a premium price to avoid ads altogether. But newly released data from Edison Research reveals that in the US, most people spend the majority of their daily audio time with ad-supported sources (64%), compared to ad-free premium sources (36%). Ad-supported sources in this study include AM/FM radio, radio streams, music on YouTube with ads, SiriusXM talk channels, free versions of streaming audio sources, and podcasts. Those who spend the most time with ad-supported sources tend to be older; 75% of Americans 55+ spend their audio time with ad-supported audio. Listeners aged 35-54 listening to ad-supported audio clocked in at 65%. Meanwhile, those aged 13-34 spend almost as much time listening to ad-free audio (46%) as they do ad-supported (54%). This data makes sense, given that younger American spend more time on platforms that make removing advertisements relatively easy and fairly inexpensive, like Spotify and YouTube. Further, older Americans are more likely to have spent time listening to ad-supported audio before the advent of streaming, perhaps making it less of a deterrent to them than younger generations. From the perspective of the providers, ad-supported audio remains an effective way to reach consumers and increase brand and product awareness. To that point, an increasing number of video streaming services are putting ads into their paid plans, such as Netflix. That only begs whether audio streamers like Spotify will follow in their video counterparts’ footsteps. Rumors have circulated this week that recent advertising updates to Spotify would result in ads appearing in paid plans. Namely, rumors suggest the current $11.99 monthly Premium plan would see a limited amount of ads introduced, with the company introducing a higher-priced tier for continued ad-free listening. Despite Spotify’s denial of any truth to those rumors, some users have reported encountering ads in their paid Premium subscriptions. Spotify says this is due to a technical issue. But whether these are actually the earliest whisperings of an additional source of revenue for the streaming giant remains to be seen. The company has been under fire for years over its abysmal royalty payments to artists. Perhaps more ads would provide a way for Spotify to cut artists on its platform a bigger check. However, that doesn’t mean its users are willing to pay the price. View the full article

Recording Academy CEO Harvey Mason Jr. speaks during Grammys on the Hill in support of the expanded No Fakes Act. Photo Credit: The Recording Academy Federal lawmakers have reintroduced the No Fakes Act, which is drawing strong support from in and well beyond the music industry. Senators and representatives from both sides of the aisle reintroduced the legislation today. We’ve covered the years-old bill (which, looking to tackle AI deepfakes, would establish bolstered voice and likeness protections) from the outset. In April 2024, for instance, Warner Music CEO Robert Kyncl appeared before Congress to back (among different measures) the No Fakes Act, which received legislative pushes in July and September of the same year. Of course, those particular pushes didn’t lead to passage. But much has changed – in the AI world and elsewhere – since then. Like during the summer of 2024, DMN’s inbox is currently filled with statements touting the No Fakes Act. However, in addition to enthusiastic remarks from the Recording Academy, the RIAA, the NMPA, ASCAP, the NAB, the major labels (Kyncl and Randy Travis were on Capitol Hill for the bill’s reintroduction), A2IM, and several others, support is now coming from outside the industry as well. OpenAI has endorsed the revamped No Fakes Act, YouTube signed off on the bill in a blog post, and the Walt Disney Company applauded the “important and meaningful protections” at hand, to name a portion of the examples. It probably goes without saying, but this newfound unity resulted from months of back and forth on the No Fakes Act, the latest iteration of which is 40% longer than the original by page count. Just scratching the surface here, the bill contains updated liability exclusions, including for any “service by wire or radio that provides the capability to transmit data” and any “online service” provider for which it’s “not technologically feasible” to remove “offending material.” Meanwhile, the heftier legislation dives into a variety of penalties, for both online service providers and individuals, pertaining to alleged deepfake violations. And perhaps most notably, the No Fakes Act would enable litigating rightsholders to ask any district court clerk “to issue a subpoena to a provider of an online service for identification of an alleged violator” of the law. For obvious reasons, that rightsholder-tech compromise could spell trouble for those who’ve uploaded soundalike AI works without permission. Here are a few of the many music industry statements backing the new version of the No Fakes Act. Recording Academy CEO Harvey Mason Jr.: “The Academy is proud to represent and serve creators, and for decades, GRAMMYs on the Hill has brought music makers to our nation’s capital to elevate the policy issues affecting our industry. Today’s reintroduction of the NO FAKES Act underscores our members’ commitment to advocating for the music community, and as we enter a new era of technology, we must create guardrails around AI and ensure it enhances – not replaces – human creativity. We thank Senators Blackburn and Coons, and Representatives Dean and Salazar for their unwavering support on this issue, and we look forward to working alongside them to pass the NO FAKES Act this Congress.” Warner Music Group CEO Robert Kyncl: “I applaud Senators Blackburn and Coons and Representatives Salazar and Dean for their leadership in introducing the NO FAKES Act. This bill reflects what can happen when tech and creative industries come together – foster cutting edge innovation while protecting human identity and artistry. We look forward to working with key members of the US Senate and House to help pass the NO FAKES Act this year.” NMPA president and CEO David Israelite: “NMPA is proud to support the reintroduction of the No Fakes Act. In an era where artificial intelligence is rapidly reshaping the creative landscape, it is critical that we protect the rights of creators from exploitation, fraud, and misuse. We commend Senators Coons, Blackburn, Klobuchar, and Tillis for their leadership in protecting songwriters and artists from illicit theft of their work. By establishing new protections against the harmful use of digital replicas, the No Fakes Act will provide the necessary framework to ensure that AI serves as a tool to enhance creativity rather than undermine the rights of those who create it. We urge the Senate to move swiftly in passing this critical legislation and securing the protections the creative community deserves.” View the full article

A live performance from Quavo, who, along with Hybe America and Quality Control, is facing a copyright infringement lawsuit from sculptor Daniel Arsham. Photo Credit: Jørund Føreland Pedersen Hybe America, its Quality Control subsidiary, and Quavo are facing a copyright lawsuit for allegedly infringing on a visual artist’s work in social media posts. Daniel Arsham, touted as “one of the most well-known contemporary artists in the world,” submitted the unique action to a New York federal court. As laid out in the suit, the plaintiff sells his projects “for many hundreds of thousands of dollars” apiece and “has a robust licensing market.” On the latter front, New York City-based Arsham is said to have collaborated with “a litany of hip-hop artists, including Pharrell, Usher, Jay-Z, Gunna, The Weeknd, Nas, and others.” While it probably doesn’t need saying in light of the complaint, Quavo isn’t featured in that litany of talent. At least as told by Arsham, he’s the creator of a sculpture called Quartz Eroded 1961 Ferrari GT. That 2018 effort is “part of a collection of full-size vehicle sculptures that he has created in his signature ‘eroded’ fictional archeological technique,” per the legal text. Also in 2018 (and then again in 2023), the plaintiff allegedly displayed the creation, photos of which are included in the suit, to the public in an exhibition. Fast forward to December 2024, when Quavo allegedly took to Instagram and TikTok to upload a teaser for “Trappa Rappa” (2025). This clip, besides several subsequently uploaded stills thereof, allegedly shows “Quavo performing in front of the” aforesaid sculpture. (The track itself debuted in February 2025; “music video” is used once in the complaint to describe the social posts, but the actual music video doesn’t seem to include the statue.) Though Quavo and his team tagged Arsham in the original posts, they didn’t obtain the artist’s permission to use the sculpture, the lawsuit maintains. The plaintiff “never consented” to the usage and hasn’t received related compensation, the legal text drives home for good measure. And to reiterate the obvious once more, Arsham – who purportedly discovered Quavo’s alleged usages in December 2024 and sent multiple cease and desist letters soon thereafter – claims there haven’t been any “meaningful discussions” between his team and the defendants. Furthermore, the alleged infringement has purportedly “significantly damaged the value of the” sculpture, the artist’s other works, and “the value of any licenses for his artworks in the relevant markets.” All told, Arsham is seeking relief for vicarious and contributory infringement, with an additional publicity-rights claim under New York law to boot. View the full article

Editor's Note [April 15, 3:20pm CST]: The death toll from the catastrophic collapse of the Jet Set nightclub has risen to 231. This article has been updated accordingly. The roof of Jet Set, a popular nightclub in the Dominican Republic, collapsed early Tuesday morning and killed at least 124 people, CNN reports. The death toll has nearly doubled to 231 a week after the disaster, Dominican Interior Minister Faride Raful told reporters. The deadly collapse occurred in the capital of Santo Domingo before 1am Tuesday during a performance by popular merengue artist Rubby Pérez, whose body was recovered Wednesday morning, according to emergency services officials. Juan Manuel Méndez, director of the Emergency Operations Center, reported that 145 people had been rescued alive from the rubble. However, the full extent of the catastrophe remains unclear, with the number of people still buried unknown. Approximately 300 people were inside the venue when the roof gave way. Video recorded from inside the club and shared on social media appears to capture the terrifying moment of collapse, showing lights falling from the ceiling seconds before the roof came down, followed by screams. At 12:34 a.m. Tuesday, April 8, 2025 the roof of the Jet Set Nightclub, Santo Domingo, Dominican Republic collapsed. At least 113 people were killed and another 155 injured including Nelsy Cruz, governor of the Monte Cristi province and former MLB players, Octavio Dotel and Tony… https://t.co/ZuQvb6ylG3 pic.twitter.com/CnxMxU7s9T — 𝓝𝓲𝓴𝓴𝓲 (@PFKHealth) April 9, 2025 U.S. Secretary of State Marco Rubio confirmed that at least one American citizen and several U.S. residents were among the dead. Former Major League Baseball players Octavio Dotel and Tony Blanco also passed, with Dotel—a World Series Champion in 2011—dying en route to the hospital after being pulled alive from the rubble, according to Méndez. The collapse has affected the families of prominent political figures as well. Nelsy Cruz, governor of the Monte Cristi province and relative of MLB All-Star Nelson Cruz, was confirmed dead by Dominican President Luis Abinader. Meanwhile, the son of Public Works Minister Eduardo Estrella remains among the missing. Outside the destroyed nightclub on Wednesday, distraught families gathered, clinging to hope that their loved ones might still be found alive as rescue workers methodically worked through the debris. Of the 124 confirmed fatalities at Jet Set, 33 bodies have yet to be identified, per CNN. "We deeply regret the tragedy that occurred at the Jet Set nightclub," Abinader said in a statement released on X. "We have been following the incident minute by minute since it occurred. All relief agencies have provided the necessary assistance and are working tirelessly in the rescue efforts. Our prayers are with the affected families." Authorities have not yet determined what caused the structural failure at the venue.

Photo Credit: Jim Herrington The Country Music Hall of Fame and Museum in Nashville is prepping a new exhibit titled ‘Dolly Parton: Journey of a Seeker.’ The exhibit will open to the public on May 20 and will be available through September. The new exhibition is intended to celebrate Dolly Parton’s career, highlighting her journey as a singer, songwriter, actress, entrepreneur, and philanthropist. Some of the highlights from the exhibit include personal artifacts such as costumes Dolly wore, musical instruments she played, and handwritten lyrics, photographs, and exclusive interview footage from the many phases of her longstanding career. Visitors will be able to see handwritten lyrics to her iconic song “Jolene,” a portable cassette tape recorder used to compose songs like “I Will Always Love You,” and “Jolene,” and her iconic cowgirl outfit from the 1980 film ‘9 to 5.’ The exhibit also displays Parton’s Kennedy Center Honors medallion from 2006 and several other notable awards bestowed upon the legendary country singer. ‘Journey of a Seeker’ focuses on turning points in Dolly Parton’s career, where she overcame obstacles and defied expectations. It explores her rise from humble beginnings in the Smoky Mountains of Tennessee to becoming one of the leading female figures in country music. An official exhibit playlist will be available on major streaming platforms starting May 20—the first day of the exhibit’s availability. Visitors who purchase a timed entry ticket to the museum must reserve a separate ticket for access to the exhibit, which is offered at no additional cost. A limited number of tickets to the exhibit and museum are available each day between 9 am and 3:30 pm CST, so visitors are encouraged to purchase tickets in advance. In addition to this new exhibit, the museum also features other Dolly Parton items on display. The ‘Sing Me Back Home’ exhibition showcases foundational artifacts that span the 100-year narrative of country music history. A dress Dolly wore on ‘The Porter Wagoner Show’ in 1970 is currently on display there, as is her Country Music Hall of Fame member plaque. View the full article

Photo Credit: Spotify It’s The White Lotus Effect: Streams of Billy Preston’s “Nothing From Nothing” spike on Spotify following its feature in the season finale. Each season of HBO’s The White Lotus leaves fans reeling and streaming, first with the show’s iconic theme song, and most recently with the season 3 finale on Sunday night. Between the music and the products, it seems like everyone wants to feel a part of that White Lotus aesthetic — something the media is calling “The White Lotus Effect.” Following its feature in the final scene of the season’s last episode, streams of Billy Preston’s 1974 hit “Nothing From Nothing” saw a spike of nearly 370% on Spotify in the US compared to the day previous. Likewise, the show’s theme and its many remixes have been cropping up in nightclubs and playlists everywhere. And lots of products have seen a spike in consumer interest after their appearance on the HBO hit. Coffee Mate released two new themed flavors just in time for the The White Lotus finale: Piña colada and Thai coffee. When piña coladas were featured in the show’s finale on Sunday (don’t worry; no spoilers ahead) Coffee Mate’s marketing team wasted no time in creating a somewhat viral post to respond to the episode’s key moment. “The show going on week by week is helping drive buzz for the flavors. So they’re both doing really well in market through the first quarter,” said Daniel Jhung, President of Nestle USA’s coffee and beverage division, which owns Coffee Mate. “But I do suspect that next week, when I pick up the sales data, that piña colada flavor will see a bit of a lift as people try it, just for the novelty aspect.” Lots of luxury brands, like Gucci, Loewe, Louis Vuitton, Valentino, and Goyard, have been featured just in the first two episodes of the show’s latest season. That’s no surprise, given the whole concept revolves around the ultra-wealthy in gorgeous destinations. Funnily enough, while the show pokes holes in the seemingly flawless veneers of that level of wealth and luxury, consumers are eating up the aesthetic rather than heeding any sort of cautionary lessons. During the season 3 premier, Louis Vuitton saw a 2% increase in brand awareness, with consideration for the brand up by 4%. But other companies, like Jim Thompson, saw an impressive sales boost of 671% after a scene in which a character wears one of the brand’s silk kimonos. “Consumers are gravitating toward bold, high-status brands like Prada and Louis Vuitton,” said Matt Herbert, co-founder and co-CEO of Tracksuit. “It’s a strong reminder that culture and commerce have never been more connected.” View the full article

YouTube is now testing an AI instrumentals generator as well as a feature that matches Shorts clips to music. Photo Credit: Kelly Sikkema YouTube is officially testing AI-generated instrumentals as well as a Shorts soundtrack-matching feature. Creator Insider, billed as “an informal YouTube channel” operated by the platform’s “Creator technical team,” revealed those new offerings in a brief video. On the instrumentals side, the “gradually” expanding AI-music support appears straightforward enough. As laid out by program manager Lauren Fendel, certain channels can now use text prompts to generate fully cleared works. “These are free for you to use, so you don’t need to worry about copyright claims,” Fendel elaborated of the outputs. Despite the off-platform availability of Google’s MusicFX, the instrumentals generator processes these prompts (and provides downloadable audio) via a “Music Assistant” tab on YouTube Studio itself, the video shows. Shifting, then, to release details, the AI instrumentals are currently live for some channels that have access to YouTube Studio’s years-old Creator Music catalog. And the latter, which offers upfront and revenue-sharing licenses for protected works, is still exclusive to Partner Program-enrolled YouTubers in the States. (A few creators are taking to Reddit to inquire about Creator Music’s international-release timetable. But the appropriate support page only notes that “[e]xpansion to YPP creators outside of the U.S. is pending.”) As for Shorts soundtrack matching, the capability, as its name suggests, aims “to help creators reduce editing complexity when trying to sync their clips to the beat,” per the video. “When you select multiple photos and video clips from your phone’s gallery,” said the over 14-year Google/YouTube vet Fendel, “you’ll now have the option to automatically create a short video synced to music. Just choose the media, pick a song, and it will arrange your clips to match the beat.” Regarding availability, the soundtrack-matcher’s current reach and future rollout plans don’t appear to be set in stone. “This will be available to a small number of creators during the experiment phase, but we’ll keep you posted if we expand it,” the YouTube employee relayed. In the bigger picture, music-feature tests aren’t new for Shorts, which in November 2023 debuted Dream Track. At the time, the “suite of experimental tools” emphasized a selection of AI-powered soundalike vocals, including from T-Pain and Sia. Since then, Dream Track has apparently pivoted into instrumental soundtracks, an October 2024 video indicates. Unlike the more robust music-generation option described above, the mobile-geared Dream Track looks to function in the Shorts app’s camera as opposed to YouTube proper. View the full article