British Ticket Scalping Duo Makes $9MM, Gets 6+ Years In Prison

In a landmark decision, a UK-based ticket scalping duo has been sentenced to six-plus years behind bars.

In a decision that’s likely to make would-be ticket redistributors think twice, two British ticket scalpers have been sentenced to a total of more than six years behind bars.

Digital Musci News  that the men — Peter Hunter and David Thomas Smith — used multiple identities and bots to purchase desirable tickets to concerts held by Taylor Swift, Ed Sheeran, and Coldplay, among many other artists.

Prosecutors indicated that, in total, Hunter and Smith bought about $5.2 million worth of tickets and sold them to eager fans for approximately $14.1 million, all under the BZZ Limited banner (though a number of websites were operated by the company). Upon raiding Smith and Hunter’s homes, investigators found over 110 credit/debit cards in nearly 40 different names.

Despite having received several warnings to curb the illicit practices (including providing customers with invalid tickets, in addition to the chief charge of thinning the ticket market and inflating prices), Hunter and Smith kept their operation running for seven years, between 2010 and 2017, until authorities stepped in.

As the scheme’s main architect, Peter Hunter was sentenced to four years in prison, while his associate, David Thomas Smith, was issued a sentence of two and a half years.

Judge Khokhar said that he took “no pleasure” in handing down the sentences, but that he felt compelled to do so on behalf of the public interest. For reference, common assault is punishable by a maximum of six months in jail under UK law.

The seemingly harsh prison term is the latest example of the ongoing effort by British, American, and Canadian regulatory bodies to better monitor the fairness of ticket sales.

The United Kingdom’s Competition and Markets Authority  an in-depth analysis of the impact that Viagogo’s StubHub acquisition will have on customers. And last week, Canada’s Competition Bureau  StubHub $1 million for practices that were deemed to inhibit competition.

Stateside, Representatives Pascrell Jr. and Pallone Jr. are drafting and revising , which, if passed, would administer a slew of regulations and requirements to all primary ticket distributors.

However, even Pearl Jam, whose members are well-known critics of the ticketing industry and ticket scalping, has  with portions of the BOSS Act, and it’s unclear if the bill possesses the votes to pass through Congress.

Are Streaming Exclusives Coming Back? Apple Music Getting Coldplay EP

Streaming exclusives hurt paying subscribers, yet they’re slowly creeping back in 2020. Here’s the latest.

Back in the day, music streaming services went to war with exclusives as their primary weapon. That stopped when piracy spiked on exclusive content from major artists like Chance the Rapper, Kanye, and Beyonce.

Now it looks as though streaming exclusives are slowly becoming the norm. It started with podcasts – Spotify paid over $500 million for podcasting companies to diversify its podcasting presence. Now it is releasing that draw in listeners who want that content.

After paying subscribers get used to podcast exclusives, it is easier to swallow other exclusive content.

Spotify snagged an enhanced version of BTS’ latest album, including commentary that die-hard fans will want to hear. Justin Bieber partnered with Apple Music for his album Changes to release a few music videos, too.

It seems as though all content surrounding albums – music videos, live sessions, and more are fair game for exclusives. Bieber also has a 10-part biopic called Justin Bieber: Seasons with more than 60 million views.

Now Apple Music has snagged a new EP from Coldplay called ‘Coldplay Reimagined.’

This exclusive EP features three acoustic tracks from their Everyday Life album. “Cry Cry Cry,” “BrokEn,” and “Champion of the World,” are included alongside a small short film. The film features Chris Martin and Jonny Buckland working on some of the band’s recordings.

The new EP is not a new album or even new music, but it is new streaming exclusive material. Coldplay fans who want to see it legally need to subscribe to Apple Music.

You can bet Spotify’s netted several new subscriptions from the rabid and self-styled BTS Army. These kinds of exclusives are great for streaming services, but not so great for the paying music enthusiast.

BMG Parent Company Bertelsmann to Become Carbon Neutral by 2030

BMG parent company Bertelsmann has committed to becoming carbon neutral by 2030.

The multibillion-dollar conglomerate announced the commitment a formal media release. Bertelsmann also indicated that the initiative would be undertaken as part of Science Based Targets, a climate-awareness organization that aims to reduce businesses’ emissions and carbon footprints. Over 800 other companies have set lower emissions targets through SBT.

To bring about a 50 percent dip in greenhouse gases and reduce CO2 emissions by approximately 500,000 tons during the next decade, Bertelsmann will implement “100 percent green electricity,” work to enhance energy efficiency, form partnerships with other green companies, and install “additional solar systems.” Factoring for the mentioned reductions, Bertelsmann expects to offset any remaining carbon dioxide naturally, thereby becoming carbon neutral.

It was also acknowledged that because Bertelsmann owns such a large variety of companies (well-known publisher Penguin Random House and RTL Group, one of Europe’s most prominent television and radio brands, besides BMG), some subsidiaries may take longer to achieve carbon neutrality than others.

Speaking of the carbon-neutral pledge, Bertelsmann Chairman and CEO Thomas Rabe said that his company is “taking responsibility in the battle against climate change and global warming.”

Though BMG’s carbon-neutral goals are decidedly more ambitious than those of any other music-industry company or artist, some are taking their own steps towards eco-friendliness.

In November of last year, Coldplay halted future touring so that they could devise a plan to make each of their shows , with an emphasis on carbon neutrality. (The corresponding plans are still in the works; Coldplay stated that the figuring and calculating could require multiple years.)

And in July 2019, Radiohead and other UK artists rallied behind , which strives to make the music industry’s business practices and standards more eco-friendly. Notably, , IMPALA, and Sony Music UK, among others, are also supporting Music Declares Emergency, though it’s unclear what concrete progress the group’s organizations, companies, and artists have made towards their overall objectives.

Bertelsmann indicated that their ongoing environmental-sustainability efforts would be gradually ramped up and optimized to meet the 2030 target.

Two British Ticket Scalpers That Made $9 Million Convicted for Fraud

Two British ticket scalpers – Peter Hunter and David Smith – were convicted on fraud charges.

Both men used multiple identities and bots to buy over £4m worth of tickets to numerous gigs. The duo scalped tickets for Ed Sheeran, Coldplay, Liam Gallagher, and Taylor Swift events, among those targeted. Over 750 Sheeran tickets ended up on secondary ticketing sites from this duo alone.

The pair then sold the tickets on secondary ticketing sites for £10.8m, according to court documents.

Prosecutors describe the duo as “dishonest fraudsters” with only greed as motivation. Both are guilty of fraudulent trading and possessing an article for fraud, according to jurors. The two British ticket scalpers were exposed after The Guardian dived deep into the secondary ticketing market.

Two sites the duo used to move tickets – GetMeIn and – have since shut down. and Viagogo are still live, despite multiple complaints from consumers and lawsuits. A merger between the two now , too.

are using multiple identities, software, and credit cards to hawk their goods. They use bots to snap up as many premium seats as possible, making it harder for genuine fans to get them.

These British ticket scalpers used 100 different names and 88 separate postal addresses to avoid detection. They also engaged in speculative selling or listing tickets for sale they do not own.

“Today’s verdict shines further light on the murky world of secondary ticketing, and the dependency of websites such as Viagogo and StubHub upon large-scale commercial ticket resellers,” said Adam Webb, campaign manager of FanFair Alliance.

“We strongly suspect Peter Hunter and David Smith are not exceptional. Other suppliers to these sites may also acquire tickets by unlawful means – no questions asked,” Webb added.

Ticketmaster faced heavy criticism after reporters found representatives engaged in scalping. A by the Toronto Star reveals how Ticketmaster works with scalpers. Ticket resales at higher prices on an official platform allows Ticketmaster to double-dip.

Jay-Z's Tidal Lost $37 Million In 2018; More Than 100,000 Subscribers Bail

Jay-Z’s Tidal lost approximately $37 million and 100,000 American subscribers in 2018, according to newly released figures.  

The music streaming service’s overall revenue grew by more than 25 percent from 2017 to nearly $150 million, according to a . However, 2017’s U.S. earnings were about $71.5 million, whereas American subscribers’ payments totaled $57.4 million in 2018—a loss of $14.1 million and, in turn, at least 100,000 subscribers. Also worth noting is that international revenue jumped from $39.6 million to $84.5 million between 2017 and 2018. 

Tidal does not offer a free version, and the report indicated that 97.7 percent of the platform’s 2018 earnings derived from subscription fees, with the remaining two or so percent having come from sponsorships. 

In addition to disclosing these telling earnings and listenership stats, the report stated that Tidal is available in more than 54 countries, and that subscribers have access to a library of over 60 million songs (as well as a quarter of a million music videos). 

Tidal launched in 2015, after Jay-Z bought Aspiro, a Norwegian music-streaming company. 

The brand has emphasized and promoted lossless HiFi audio from the outset, and Jay-Z’s industry contacts were used to bring a number of high-profile artists into the fold, including Rihanna, Kanye West, Coldplay, and Arcade Fire. However, these and other acts faced criticism from fans after their new music was made available to stream only through Tidal. 

On the artist end, Tidal has been the target of complaints—and a massive copyright infringement lawsuit—over its method of calculating total listeners for songs and albums. Some have said that Tidal purposely reduces its stream counts (and corresponding payments) by applying a stringent definition of what constitutes a play. In 2017, Kanye West, an initial backer and board member of Tidal, departed the company and claimed that he was owed $3 million. The subsequent lawsuit was settled out of court. 

And in 2019, Jay-Z threatened to sue the entire country of Norway over a listening-statistic dispute. That level of outlandishness and hubris may be contributing to the downward spiral of this company.

Sprint purchased one-third of Tidal in 2017, reportedly for somewhere in the ballpark of $200 million.       

SnowGlobe Music Festival Sued for Emitting Massive Amounts of Benzene

The SnowGlobe Music Festival has come under fire for environmental concerns.

After the 2018 festival, the Center for Environmental Health sued SnowGlobe. The CEH argues there is too much benzene in the air at the concert and for days afterward.

“Many music festivals use a variety of diesel-powered items, including the generators, buses, and trucks,” CEH senior scientist Caroline Cox says. “We were concerned about the amount of benzene that diesel combustion produces. We measured benzene levels at the SnowGlobe Music Festival, and they were above the level set under California’s Proposition 65.”

Prop. 65 is the Safe Drinking Water and Toxic Enforcement Act in California law. It lists benzene as a cancer-causing agent that causes reproduction toxicity in humans.

Cox says her organization is working hard to focus on the harm it may cause younger people. “There are a lot of young women that either could be pregnant or want to get pregnant. So we’re concerned about protecting those people,” Cox says.

The CEH served the SnowGlobe Music Festival with a 60-day notice of violation of Prop. 65 in January 2019. CEH later filed the lawsuit against SnowGlobe in December 2019.

Cox says the festival has been cooperative in helping them address the issue. Festival organizers are exploring whether electric power is feasible at the current site. They’re also looking at switching to bio-diesel for buses to reduce emissions.

Concert emissions for touring music artists have been at the forefront of the music industry lately.

Coldplay is committing to until concerts are carbon neutral. Meanwhile, DJ Matoma claims to be launching the world’s first ‘‘ on a local scale.

Trip-hop legends like Massive Attack are stepping up by with them. The move is intended to help them study the actual carbon footprint caused by music concerts across the globe.

Jennifer Lopez, Shakira Weren't Paid for Super Bowl LIV Halftime Show

The NFL has a longstanding tradition of not paying its Superbowl Halftime performers — J.Lo and Shakira were no exception.

It’s the biggest stage on the planet, and it doesn’t pay sh—t.

According to multiple reports and sources this week, the NFL has refused to alter its longstanding policy of not paying Super Bowl performers.  That includes the most recent show by Shakira and Jennifer Lopez, who dazzled an audience of more than 100 million last Sunday evening during their Super Bowl LIV Halftime Show.

The non-payment is hardly a secret.  Back in 2014, the NFL flatly admitted to not paying Halftime artists.  “We’re putting someone up there for twelve-and-a-half minutes in front of the largest audience that any television program garners in the United States,” NFL Director of Programming Lawrence Randall told Time back in 2014.

“It’s a pretty good deal.  It’s the famous win-win for both parties.”

Still, the league has little problem attracting superstars like Maroon 5, Katie Perry, Coldplay, Shakira, and Jennifer Lopez.  But those stars aren’t getting completely stiffed: earlier today, Forbes reported that Shakira and Jennifer Lopez performed at Super Bowl LIV in exchange for union-scale pay and the cost of production—a far cry from the sizable rates that they’re accustomed to fetching. 

“It’s a pretty good deal.  It’s the famous win-win for both parties.”

In theory, the digital sales and fan interest generated by Super Bowl Halftime performances are worth just as much — and probably more — for artists than the once-off payments that typically accompany other gigs. 

Though J.Lo and Shakira earn roughly $2 million per tour stop, they can expect a tremendous windfall on the heels of their Super Bowl LIV Halftime Show, which was watched by a staggering 103 million people. 

Other recently booked acts, including Justin Timberlake, Lady Gaga, and Katy Perry, have been compensated in the same fashion. Moreover, the popularity boost that follows halftime shows is so valuable that the NFL has reportedly considered charging artists to perform. However, this fee hasn’t yet been instituted, and it seems unlikely that it’ll become the norm anytime soon. 

According to the cited Forbes piece, Justin Timberlake saw a “214% spike in Spotify streams” during the first hour following his 2018 halftime effort. Similarly, halftime acts’ StubHub search volume and concert revenue increase dramatically both immediately and in the long term. 

Shakira, looking to capitalize on her post-performance buzz, recently announced that she’ll be embarking on a worldwide tour in 2021, though locations, venues, and dates, haven’t yet been revealed. 

If the Colombia native’s per-concert earnings grow like Travis Scott’s (which doubled) or even Maroon 5’s (which experienced a $200,000 uptick), she could make many millions of dollars more than she otherwise would have. And while J.Lo hasn’t revealed a world tour, it’s probable that her standard fee for films—and the variety of roles she’s offered—will jump considerably. 

At the time of writing, the NFL, J.Lo, and Shakira hadn’t yet commented.

Paradigm CEO Sam Gores: "We Are Not For Sale"

Paradigm CEO Sam Gores vehemently denies that his company is for sale.

Following a recent report by the Los Angeles Times, which said that the talent agency was on the market and engaged in preliminary talks with the Creative Artists Agency (CAA), Gores sent a companywide email disputing the claim.

In the email, Gores wrote: “Let me state emphatically– we are not for sale, nor are we selling the agency.”

In the same message, Gores acknowledged that “the influx of private equity into talent agencies and the WGA standoff” make Paradigm an ideal acquisition target for other agencies, which would gain a diverse stable of clients and additional bargaining power. This statement seems to indicate that while some talent offices are interested in Paradigm, the interest isn’t mutual.

Rumors of Paradigm’s sale aren’t new. The company, which was founded in 1992, has reportedly been open to purchase propositions for several years. Last June, Gores revealed that he had been fielding offers from the United Talent Company (UTC), but pressure from his employees prompted him to reconsider.

Paradigm possesses one of the most comprehensive rosters of any contemporary talent agency.

Artists Ed Sheeran and Coldplay, author Stephen King, actor Laurence Fishburne, and many other prominent professionals are signed with Paradigm, which has over 200 agents in its ranks.

Paradigm’s foray into music representation arrived in 2005, with the purchase of Monterey Peninsula Artists. And in 2006, Paradigm acquired Little Big Man, a New York-based talent agency that, although small, had agreements with Coldplay and The Fray (both of whom stayed on with Paradigm and are still clients).

Subsequently, Ellis Industries, Third Coast Artists Agency, AM Only, and Coda Music Agency aligned with Paradigm, forming an impressive collection of musical talent.

At the time of writing, Sam Gores hadn’t publicly commented on the report.

Warner Music Group Quarterly Earnings Jump 42% (Thanks, Streaming)

Warner Music Group (WMG) just reported a very solid first-quarter growth.

Warner Music Group (WMG) recorded substantial profits in the first quarter of its fiscal year, which began in October of 2019 and ended on December 31st.

In an earnings report issued this morning, WMG revealed that total revenue increased by 4.4 percent (5.5 percent in constant currency, which omits losses brought on by currency fluctuations) from the same period in 2018. Similarly, digital revenue grew by 12.6 percent from Q1 2018 (13.5 percent in constant currency), and net income saw a $36 million boost, from $86 million to $122 million.

That is nearly a 42% bump, thanks to a continued surge in streaming-related revenues.

Predictably, WMG’s physical sales declined, while streaming and digital purchases performed well enough to increase recorded music’s overall revenue by 4.1 percent (5.1 percent in constant currency). However, it is worth noting that licensing revenue fell from 2018’s first fiscal quarter; WMG attributed this decline to the “impact of foreign exchange rates and timing.”

Recorded music revenue was reported to have grown “in all regions,” with TWICE, Lizzo, Coldplay, and Ed Sheeran cited as “major sellers.”

WMG also claimed to possess approximately $462 million on-hand, with debts totaling about three billion dollars.

In a statement, WMG CEO Steve Cooper said, “Our Q1 results were very strong. We achieved the highest quarterly revenue in our sixteen-year history as a stand-alone company.”

WMG was traded on the New York Stock Exchange (NYSE) until 2011, when it was purchased (and turned private) by Access Industries, a New York-based conglomerate.

As one of the “big three” recording companies, WMG has some of today’s most popular recording artists in its ranks. Elektra Records, Warner Records, and Atlantic Records—three of the foremost record labels—are owned by WMG, as is music publishing powerhouse Warner Chappell Music.

WMG’s previous fiscal year was similarly encouraging, representing a major uptick in both revenue and profits.

What Is Sync Licensing? A Look at One of the Music Industry’s Fastest-Growing Sectors

Sync licensing is quickly ramping upward, with artists capturing increased revenues. Here’s an overview for artists, composers, advertisers, and everybody in between.

The following was created with the support of Songtradr, part of a broader partnership focused on the sync licensing space.  

The past decade has witnessed an absolute explosion in the quantity of video content. What started with YouTube now encompasses big-budget productions on Netflix, Disney Plus, and HBO Go, not to mention a continued stream of games.

Almost all of that requires music, which is where the sync license comes in.

But what is sync licensing, you ask? The answer can be pretty complex, but is ultimately quite simple. It’s a license that enables the matching of your music within a movie, TV show, commercial, video game, or any other form of visual media.

The operative word here is ‘synchronization,’ which refers to the time-perfect matching of video with audio (i.e., music). For those who prefer math, the sync license boils down into the following equation:

Video audio = sync license, where ‘audio’ = $

That ‘$’ can add up to hundreds, thousands, or millions for songwriters, composers, musicians, or anyone who owns the rights to a piece of music. Deals of every shape and size are being structured and signed as you read this guide.

What sync is — and isn’t.

At its core, a sync deal requires at least two parties: the production company in charge of the visual (i.e., the movie, TV show, or commercial), and the content owner(s) (i.e., the musician, songwriter, publisher, record label or other entity owning the music).

It’s important to note that the sync license is completely different from other music licenses. Spotify, for example, does not require sync licenses to deliver its music streaming service, as it does not match music to visual content. Similarly, venues, malls, and elevators are also not signing sync deals, since their music is considered a ‘performance’ (the same goes for various forms of radio).

Similarly, any sale of an LP, CD, or other physical format has nothing to do with sync licensing.

Sync: an equal opportunity license!

In many cases, sync deals involve a major Hollywood studio and a massive artist. The musician making money could be anyone from Coldplay to Billie Eilish, and the licensing fees can be gargantuan.

“the music simply has to fit — it doesn’t need to be a hit!”

But sync also offers significant opportunities for independent artists, songwriters, and composers. The reason is that the music simply has to fit — it doesn’t need to be a hit. A chase scene might need a rapidly-moving drumming sequence with intense instrumentals; a rom-com could use something with a light-hearted guitar and a breathy singer.

And in the case of the latter, that breathy singer could easily catch fire if the film (or TV series) is popular enough. Even crazier, major advertisers often break earlier-stage indie artists, simply because it offers a fresh sound to prospective customers.

So how do you structure a sync deal?

Any artist with ownership over a piece of music can structure a sync deal. There are no steadfast rules on who can make this handshake, though artists are typically entering sync deals a music publisher or catalog, music supervisor, or sync platform.

A music publisher is a company that works to maximize the value of a piece of music, through a variety of licenses and deals. They typically acquire the rights to a catalog of music, or sign a deal to administer the rights to that music. In each case, they take a sizable fee, but promise greater access to heavyweights at major Hollywood studios, advertising agencies, sports networks, online platforms, and gaming platforms.

A music supervisor is a specialist in matching music with visual media. They’re frequently hired or employed by a studio or production company, with the job of finding the right music for a production. They’re also in charge of ‘clearing the rights,’ which means securing permissions to use music that might fit the film, TV show, or other production.

Recording labels themselves are often involved in sync deals, in coordination with publishers and supervisors. They control one important part of the license, the master (see below).

Both music publishers and supervisors have been structuring sync deals for decades, though sync platforms are now upending some of those cozy relationships. Songtradr, one of the largest online platforms, allows artists and songwriters to upload music that might fit a variety of different productions. In turn, that music is categorized, analyzed, made discoverable, and recommended to various music supervisors and content producers, who can structure deals through the Songtradr platform or team and skip the middlemen.

Master vs. Publishing Rights.

Once a song is identified for a possible match, the negotiation process begins. In every sync license case, a song contains two key rights: the master recording license, and the publishing license. The master recording license refers to the actual recording, while the publishing right refers to the underlying composition (the notes and lyrics). Both are required for a successful license, which often means that multiple parties are required to cooperate in order to successfully license a song, especially if there are multiple writers and publishers.

In some cases, one individual or entity (say, a composer or indie artist) owns 100% of both the recording and publishing rights. In this case, the sync is considered “one stop” as it is a much simpler transaction with one price.

It’s worth noting that one stop sync licenses are often viewed favorably by licensees (like studios and production companies), simply because they are far easier, and often more cost-effective, to license.

Traditional vs. Newer Licensing Approaches: Which Is Better?

The answer depends on the situation. If you’re Coldplay, you’re likely to structure a deal with your major label group (which may include a major publishing division) and a major studio on the other end. In fact, there will likely be plenty of lawyers shepherding the deal.

Supervisors also structure a lot of deals, though a platform approach is becoming increasingly popular. In the case of Songtradr, a music buyer can discover and license music from a vast global community of artists, songwriters, and composers and determine creative and rights requirements on platform, and if they need, leverage Songtradr’s team of music curators and specialists. As an example, Rihanna’s team tapped Songtradr to help place music on a spot for Fenty Beauty using both the platform and music team to assist.

And if you’re staring at a sync licensing contract and not sure what to do, there’s always our  to help you out. Though don’t be afraid to also consult an attorney.

Gustavo Dudamel Renews Contract with LA Philharmonic

Charismatic orchestra conductor Gustavo Dudamel has extended his contract with the Los Angeles Philharmonic through the 2025-26 season.

In 2009, at only 28 years of age, Dudamel became the philharmonic’s music director. He originally had a five-year contract, which was first extended through the 2018-19 season before getting once again extended halfway into 2022.

With the last extension, Dudamel also became the philharmonic’s artistic director.

Dudamel is said to be well paid for his efforts. In 2016, he reportedly earned $3 million a year. At the same time, he has been praised for the boldness of his vision and the expansiveness of his orchestra’s repertoire.

The conductor has been further praised for his contributions to music education. The foundation of this is Youth Orchestra Los Angeles, which supports over 1,200 aspiring musicians in the area across four locations, with a fifth one planned in Inglewood.

Along with the announcement, Dudamel issued a statement.

He said, “We have a unique opportunity and responsibility in Los Angeles to unite the soul of the Americas, to build and to strengthen musical and educational bridges with our brothers and sisters here in L.A. and beyond. We have so much work still to do, but I look forward to embracing the challenges ahead and to sharing more beautiful moments together, hand in hand with my extraordinary orchestra and our leadership team.”

Chad Smith, who is the chief executive of the philharmonic, issued a statement as well. He said, “Fifteen years ago, Gustavo and I planned our first concert together here — for his U.S. debut at the Hollywood Bowl. And what an extraordinary journey together it has been.”

Born in Barquisimeto, Venezuela, Dudamel is also an accomplished violinist. In 2015, he conducted the opening and closing music for the film Star Wars Episode VII: The Force Awakens, and a year later he performed at the Super Bowl alongside Coldplay, Beyoncé and Bruno Mars.

Chrissy Teigen Shuts Down Nip Slip Assumptions On Cleavage-Baring Photo

Between her Instagram and Twitter activity, Chrissy Teigen is known for practically living on the Internet. Because her extremely online presence, the former model-turned-TV-personality-turned-cookbook-author is well-versed in the ways social media trolls, and can predict what they’re going to say about her posts before they say them. On this occasion, Chrissy got a step ahead the curve when she posted a photo herself posing among beautiful decor, wearing slippers, a towel wrapped around her head, and a robe that was slipping open a bit. Though the photo may appear to some as though she has been the victim a wardrobe malfunction, Chrissy made sure to clarify the truth in the caption so that no misunderstandings would be had.

On the post, she wrote, “it’s not a nip. my nipples are unfortunately much lower.” Chrissy shared this hilarious personal detail knowing that her comments would be flooded with randoms claiming a nip slip had occurred otherwise. The caption had her followers laughing, and definitely succeeded in preventing unwanted declarations a so-called nip slip. We may see Chrissy in the crowd at the upcoming Grammy Awards, cheering on her husband, John Legend, as he honours the late Prince with a tribute performance along with fellow artists Earth, Wind & Fire, CommonUsher, the Foo Fighters, H.E.R., Beck, Alicia Keys, Mavis Staples, St. Vincent, Coldplay’s Chris Martin, Juanes, Gary Clark Jr., and Susanna Hfs.

Timbaland Reveals 130-Pound Weight Loss

Timbaland is making some major life changes.

The hip-hop producer is revealing how he overcome addiction and lost over 130 pounds as part of his journey to a healthier lifestyle.

“I had to get whipped, because I didn’t appreciate anything,” the 47-year-old tells Men’s Health. “All my life I felt it was a little too easy.”

After receiving a prescription for painkillers following a root canal in 2011, he started abusing OxyContin and Percocet. In the midst of a divorce from his then-wife Monique, which began in 2013, and financial woes (The IRS filed a $4 million lien for unpaid taxes), he used the painkillers to ease the pain. “It put me in a great feeling of not caring, of just being free,” says Timbaland. “I’m like traveling, doing shows, popping ’em, having fun, just being ignorant.”

Timbaland, whose real name is Timothy Mosley, also started putting on weight and developed prediabetes. “I had a dream that death was near,” he recalls. “I saw myself with a white face.”

But the father of three had an awakening and realized that he needed to save himself for his daughter, 12, and two sons, 17 and 27. “It’s like a bright light going on in your brain,” he says. “That’s how you know what true love really is.”

He decided to quit all on his own. “Just me and God,” he says. “This was the path chosen for me. God was rebuilding my character.”

Timbaland Reveals 130-Pound Weight Loss

He credits his family for keeping him strong. “One of the toughest things I’ve been through,” he reveals. “The only things that got me through it were my kids, my girl, the help of God keeping my mind still.”

His girlfriend, Michelle Dennis, turned him on to Punch Elite Fitness in Miami where he learned to box. He was 350 pounds before he joined the gym and started working out twice a day, boxing in the mornings and doing cardio and weights at night. He also adopted a nutrition plan including chicken, salmon, vegetables, and three-and-a-half liters of water a day.

Timbaland, who recently worked with Kanye West and Coldplay, says he continues to be a work in progress. “God has me under construction, which I’m still under,” he says. “I don’t feel like I’m complete. I don’t want to ever feel like I’m complete, ’cause my mind would probably get idle. God needed me to be clear so I could see what is needed, not what I want.”

Coldplay Announces Hollywood Show To Benefit Prison Reform

After previously that they would stop touring until concerts are “environmentally beneficial,” Coldplay announced that they would perform at a benefit concert for prison reform.

In an Instagram post, the band said that they would be performing “an intimate show” for fans, which will take place at the Hollywood Palladium. The show will happen on Martin Luther King Jr. Day on January 20.

The band is donating all proceeds from the show to Reform LA Jails. This is a prison reform initiative specifically focusing on the state of California. Also performing at the show will be rappers Boogie and Bobby Gonz.

The show will further feature a pair of guest speakers: Patrisse Cullors-Brignac, who is the co-founder of Black Lives Matter and the founder of Reform LA Jails, and America Ferrera, who is an actress and the co-founder of Harness. The latter organization unites artists and activists in efforts that they hope will advance social justice.

The band is additionally encouraging those who would like to attend the show to register with Ticketmaster’s Verified Fan program.

Fans can register with the program through January 15. Those chosen will then get a code that will let them buy tickets at a fair price. Purchasing will begin on January 17 at 1 p.m. ET.

The band has a long history of social activism. In their early days, they were known to give 10% of their profits to charity, and they reportedly continue to do so today.

Among the causes that they have supported in the past include:

  • Amnesty International
  • Oxfam’s Make Trade Fair campaign
  • Paul McCartney’s Meat Free Monday
  • The Teenage Cancer Trust
  • Kids Company
  • Artists’ Project Earth
  • Make Poverty History

But not all their efforts have been without controversy. Facebook in 2011 reportedly removed an anti-Israel post of theirs that the platform considered abusive.

DJ Matoma Claims to Launch World First 'Carbon-Removing Tour'

Last year Coldplay announced they would stop touring due to environmental concerns. Now, Norweigan DJ Matoma claims he has the answer.

Matoma has partnered with climate company CHOOOSE to make his upcoming US tour a carbon neutral event. The Norwegian DJ claims he is the first international artist to using carbon drawdown.

Matoma is well-known for his climate advocacy. In 2018 he announced a climate positive music tour in Europe. The tour achieved the United Nations certification as a ‘Climate Neutral Now’ program.

Now Matoma will repeat that success for the US leg of his tour. The tour will implement measures to reduce carbon emissions on a local scale. But it is also the first music tour in which unavoidable emissions will be compensated by removing carbon.

Matoma says he works with the organization to calculate the tour’s carbon footprint and explore ways to minimize the effect.

“We’re thrilled to be actually removing the remaining carbon with our partners in Finland, and continuing to find new ways and technologies to solve this global problem,” says Tom Lagergren, AKA Matoma.

So how exactly does that work? That’s where the partnership with CHOOSE comes in.

Unavoidable emissions will be overcompensated and offset through carbon capture and storage projects in Finland. The emissions from this tour will reduce twice as much as the initial footprint, removing 20 tonnes of CO2 from the air.

In addition to removing unavoidable emissions, Matoma also has a Green Touring Checklist.

The checklist is designed to reduce emissions while touring by setting guidelines for the crew. These include vegetarian meals, using public transport where possible, and booking in sustainable hotels. Electricity consumption and recycling products while on tour also appear on the checklist.

The Matoma US tour starts in Austin, Texas, on January 16. Tickets for the climate positive tour are now available on Matoma’s official website.