Burning Man Is Officially Suing the U.S. Government

Burning Man legal paperwork against the U.S. Government in December of last year.  Now, its lawsuit has officially been set in motion.

Late last year, we broke the story that Burning Man was over escalating land use permits.  Now, Secretary of the Interior David Bernhardt has been issued a summons to appear in Washington D.C.’s District Court. Because Secretary Bernhardt is representing the American government in the case, he will have 60 days (from the date that he received the summons) to respond.  The summons was shared with Digital Music News this morning.

Taking the federal government to court is no small endeavor, but Black Rock City, the parent company of Burning Man (and the name of the temporarily erected city wherein the annual event occurs), believes that their case — and financial incentive — is too significant to ignore.  Specifically, the allegation is that since 2015, the government has levied unfair permit fees against Burning Man (to the tune of $18 million) for its use of federal land.

Moreover, Black Rock City has indicated that these fees have increased exponentially throughout the last decade, from approximately $1.3 million in 2011 to nearly $3 million in 2019. Lastly, the concert organizer stated that the land-usage fees are typically disclosed shortly before Burning Man starts, leaving little time to review and/or refute them, and that arbitrarily issuing federal fees may be a violation of U.S. law.

The first Burning Man was first organized in 1990, and nearly 80,000 people attended last year’s multi-day event, including an array of electronic music artists and DJs.

Additionally, the gathering has become an unofficial meeting place for tech-industry professionals, social media influencers, and many other well-known individuals.

Burning Man 2020 is scheduled to begin on August 30th and end on September 7th, once again in Nevada’s Black Rock Desert. Presale tickets (chiefly for groups) will be issued on February 26th, to those who have registered, and individual presale tickets will be sold in March, for $1,400 each. “Main ticket sales” will initiate at the start of April, at a rate of $475 per ticket and $140 per vehicle pass (not including fees).

The federal government owns nearly 50 percent of land in the western United States, as well as close to 90 percent of land in Nevada.

Tuned Global Is Building Customized Streaming Platforms for Brands

While Apple Music, Amazon, YouTube, and Spotify duke it out for streaming dominance, B2B players like Tuned Global are eyeing niche opportunities.

The streaming music space is now a battle royale between the biggest of giants. Even Spotify is feeling the heat from far bigger competitors like Apple, Amazon, and Alphabet-owned YouTube. Toss ByteDance-owned TikTok into the mix, and the barrier to entry has never been more extreme.

But at least one player is challenging that conventional thinking. Australia-based B2B music service provider Tuned Global, headed by Con Raso and Spiro Arkoudis, has been quietly creating customized, white label music platforms for years. And one thing they’ve noticed is that market concentration within the streaming space is not only creating commoditization; it’s also limiting options for brands, artists, and businesses like ISPs. Or is it?

“Brands have very different objectives to a streaming service,” Raso said. “Music is certainly one of the best engagement agents that exist, but a brand wants to build a closer relationship with their customers. Having your own execution allows you to manage overall content (both music and non-music), data capture, targeting, and direct rewards,” Raso said. “Simply put, streaming services are impacted by what a user does now (subscribe), whereas brands are impacted by what a user does next (Core Business ROI).”

Tuned Global has been solving this problem by helping brands tap into streaming music while directly connecting with potential customers — mostly in Asia, Australia, Africa, and, more recently, the Carribean, U.S., and other markets. Clients have included the likes of Line Music Japan, Deedo, Trackdrip, and the major labels, among others, all of whom want customized outreach without having to build platforms or facilitate complex licensing deals.

And licensing complexities for the uninitiated are enough to scare away brands with even the mightiest of budgets.

Look no further than Peloton, whose ongoing litigatory headache with music publishers is being observed by many players. The group of litigating publishers, corralled by the National Music Publishers’ Association, has declared Peloton a reckless infringer, though some observers question whether Peloton was simply in over its head.

That’s another problem that Tuned Global aims to solve. The company’s approach includes strategizing campaigns and customized platforms with licensing at the forefront, instead of a half-baked afterthought. Its consultancy on licensing runs the gamut of rights areas, spanning everything from recording negotiations, the range of publishing rights, and even the DMCA.

“Our aim here is to foster productive discussions with content owners and our clients in order to find the right pathways that fit the bill primarily for our clients, striking the right balance for all parties,” Arkoudis explained.

Regardless of the opportunities, the technical and licensing hurdles can be daunting — and it’s boxing out would-be entrants.

It’s impossible to determine what the chilling effect is amongst brands, though Tuned Global sees a huge missed opportunity. Con Raso pointed to a massive opportunity with niche streaming plays, especially since they aren’t actually competitive with mega-platforms like Spotify. “It’s non-cannibalistic and complementary,” Raso noted.

There’s also a major opportunity for artists that can strike the right deal. On that note, Peloton seems to be regrouping its music strategy around superstars like Jennifer Lopez, Lizzo, Paul McCartney, Red Hot Chili Peppers, and more, a shift that validates Tuned Global’s thinking. Undoubtedly, some massive checks had to be cut — but unfortunately, that’s peanuts compared to the $300 million lawsuit dangling over Peloton’s head. 

But despite the licensing complexities, Tuned Global is striking successful campaigns with the largest companies in the world.  

Among its biggest to date is a pair-up involving Universal Music in Malaysia and Pizza Hut. The recently retired ‘Singing Pizza’ campaign was a fun toss-up of music exclusives for Pizza Hut customers, with every box containing an exclusive, regularly-updating playlist featuring Universal Music Malaysia artists.

“This campaign has been a truly collaborative and creative partnership between Pizza Hut, UMG, and Tuned Global,” relayed Kenny Ong, MD of Universal Music Group, Malaysia, Singapore & Indochina. “We believe music will always be a key cultural driver regardless of nationality, ethnicity, or age. UMG and Tuned Global, together with Pizza Hut, are confident that we will continue to find new and innovative ways to connect and engage our customers.”

Incidentally, that deal was somewhat easier on the licensing end, thanks to the presence of a single (albeit huge) label and brand. But Tuned Global has structured platform solutions for a range of different mega-brands and content owners, all with varying needs and specifications. That includes Japanese messaging giant Line, which tapped Tuned Global to quickly beef up its music catalog for its Line Music product, one of the leading music streaming services in Japan.  

Other clients have included Samsung Electronics, News Limited, Coles, and J.B. Hi-Fi. In Indonesia, the company even partnered with mobile carriers SPC and Evercoss Mobile, as well as various leading regional labels to create an entire streaming app featuring local artists. Now, as demand increases for similar partnerships worldwide, the company is working with DMN to help broaden its global dealmaking.

Another successful campaign involved Warner Music Australasia.

The major label tapped Tuned Global to launch a dedicated UGC app for superstar Ed Sheeran. The resulting app, titled ‘Ed No. 6,’ allowed fans to create and share their own videos to Sheeran’s music, resulting in a thriving, directly-controlled ecosystem of superfans. 

Raso also pointed to successful niche streaming platform launches in some unexpected corners of the globe. That includes Suriname-based TrackDrip, which is heavily focused on Carribean and Latin American Music, and Deedo, a pan-African streaming service that gets little attention in the U.S., Europe, and other major markets. Tuned Global is powering both.

Up until several years ago, major brands routinely triggered download-focused campaigns, often featuring exclusive tracks.  

Those campaigns offered tremendous upside for clients, partly because downloads offer a direct mechanism for capturing customer data. Now, Tuned Global says the challenge is to realize similar advantages from streaming-focused campaigns. If the company’s successes in Southeast Asia, Australia, and other regions offer a preview, more niche-focused, direct-to-consumer streaming plays will be cropping up in regions like U.S. and Europe — whether Spotify, Apple, and Amazon like it or not.

Electronic Musician Hacks Prosthetic Arm to Play Synthesizer By Thinking

Forget AI as the next technology-driven frontier in music – this guy plays music with his mind, using his prosthetic arm to generate signals.

Bertolt Meyer, an electronic musician, uses a myoelectric prosthetic arm. Small electrodes attached to his arm pick up impulses generated by contracting his muscles. Those impulses are then translated into control signals for his prosthetic.

Meyer found himself wondering if the prosthetic’s control signals could be adaptable enough to control other devices. So he tried it out with one of his modular synthesizers. He took apart an old prosthetic and found that the voltages were too small. The KOMA Elektronik Field Kit features a section that amplifies weak voltages to make them suitable for CV use.

He swapped out the prosthetic hand for a DIY controller, allowing him to play music by thinking about it. Meyer describes the process in a YouTube video.

“Together with Christi from KOMA Elektronik and my husband Daniel, I am in the process of building a device,” he writes. He calls it the SynLimb. “[SynLimb] attaches to my arm prosthesis instead of the prosthetic hand. The SynLimb converts the electrode signals that my prosthesis picks up from my residual limb into control voltages for controlling my modular synthesizer.”

Meyer says the process of playing music this way feels like controlling the synthesizer with his thoughts. He can control the rotation and grip of the prosthetic hand using the CV signals.

KOMA Electronik worked with him to create a custom PCB with two channels of amplification.

He can send thoughts to the muscle electrodes, generating two channels of CV. That signal then converts into anything using the modular controller. This unique way of creating music isn’t something just anybody can pick up, though.

Meyer was born without the lower half of his arm. He has been using a prosthesis in his everyday life for years, giving him plenty of experience. You can listen to some of Meyer’s mind-generated music on his SoundCloud.

 

Nas & Jay-Z’s Lost Collabo "The Scientist" Partly Surfaces

Jay-Z and Nas spent years as embittered rivals, trading Titianesque blows in one hip-hop’s most evenly matched beefs all time, only to bury the hatchet in 2005 during Jay’s “I Declare War” tour. Since then the pair moguls have linked up on a variety tracks, including “Black Republicans” in 2006, “Success” in 2007, and “BBC” in 2013. Dedicated fans know there’s still one that got away, a Just Blaze-produced banger called “The Scientist,” which first surfaced back in 2009 — a timeline that places Nas firmly in Untitled territory.

Nas & Jay-Z's Lost Collabo "The Scientist" Partly Surfaces

Frazer Harrison/Getty s

Though the Jay-Z-assisted track never arrived in full (for reasons unknown), a snippet Hov’s verse recently surfaced. Over a nostalgic  Just Blaze produced instrumental, itself a reminder a lost era, Jay sounds comfortably in his mafioso bag. “Hovito Brigante, my own people that got me, that’s what I get for snoozin’, moving too sloppy,” he spits. “I’m back brilliant, my brains is back in the building, the lights back on the fridge you dig?” 

The news came as a surprise to Nas die-hards, many whom heard snippets “The Scientist” from a while back and assumed it was a solo joint. Though some speculate the track was meant for The Lost Tapes 2, others seem to think it’s destined to arrive in full at one point or another, especially with news both a Hov-heavy Jay Electronica album and a new project from Escobar himself. While we can’t post the snippet on this page, you can check it out YouTube or right here

Big Sean Addresses Kendrick Lamar Beef Rumours

Big Sean is putting all the rumours about his alleged beef with Kendrick Lamar to rest, as he spoke to Joe Budden about his rumoured feud with the Compton rapper on Budden’s “Pull Up” series. When Kendrick hopped on Sean’s track “Control” in 2013 and called Sean out along with plenty other rappers on his explosive verse, it was heavily assumed that the two were not on good terms. This speculation rose when Sean seemingly clapped back at Kendrick on “No More Interviews” three years later. On the track, Sean spits, “And I’m just not impressed by you ni*gas rapping fast / Who sound like one big asthma attack, but trash when I’m rapping it back / Who you put in your top five and claim they the saviour rap / So many friends turn to enemies, they frenemies.” Sitting down with Joe on “Pull Up,” Sean clarified that the diss wasn’t aimed at Kendrick.

“I remember going online and seeing, ‘Oh, is he talking about Kendrick?’” Sean recalled about the “No More Interviews” lyrics. “Cause I was talking about people who rap fast. I wasn’t beefing with nobody. I was literally addressing a whole f*cking—I’m just rapping, ni*ga. It wasn’t like a specific person or else I would’ve said his name. So I see and I’m like, ‘That’s some bullsh*t.’ So I didn’t give no energy to it.”

Big Sean Addresses Kendrick Lamar Beef RumoursTheo Wargo/Getty s for iHeartRadio

However, new developments occurred when Kendrick dropped “The Heart Part 4” in 2017. “Time goes on,” Sean continues, “and then Kendrick, he dropped a freestyle and I don’t know what he said that made people like, ‘Oh, it’s about Sean.’ So I hear the sh*t, I’m like, ‘What part they talking about?'” In an attempt to sort things out, Sean contacted Anthony “Top Dawg” Tiffith, CEO  Top Dawg Entertainment where Kendrick is signed. Top assured him that Kendrick was not firing shots at him. “I immediately hit up Top cause I got a relationship with Top. And they like, ‘No, it ain’t about you at all. That was just addressing to everyone. That was just to whoever. But don’t listen to the Internet, they just gonna throw 200 on it,’” he explained. “I’m like, ‘Alright, fo sho.’ Imagine I have that conversation, I’m like, ‘Alright I ain’t even gotta reach out to Kendrick.'”

Big Sean Addresses Kendrick Lamar Beef RumoursChristopher Polk/Getty s for Coachella

Sean would come to regret never addressing the alleged diss with Kendrick, though, as their relationship was affected by all this beef talk despite neither them having a problem with one another. “It got to a point where somehow, it was just a weird tension between me and him even though it was already said it was no beef because people made it that way,” he explained. “Fast forward, I let the sh*t go. He let the sh*t go. He never talked about it. I never talked about it and I should’ve said something. I should’ve just came out and been like, ‘Nah, that ain’t it.’”

Ultimately, the two them sorted out their issues, after Sean was reminded the somewhat nonexistent drama by an executive for TDE, Punch. Sean and Punch were seated next to each other on a flight to North Carolina for J. Cole’s Dreamville Festival last April, when the topic   Kendrick was brought up. “He’s like, ‘You ever hollered at Kendrick?’ And then as soon as he said that…it was like, ‘Ohhh,'” Sean noted. “I damn near put it on the back burner in my brain. I’m like, ‘Damn. No, I never did.’ And he was like, ‘Man, you should’ve definitely hollered at him.'” Luckily, it wasn’t too late for the two MCs to make peace. “Got his number and we communicated,” Sean revealed. “The respect is mutual. It was literally nothing.”

Pop Smoke’s "Meet The Woo 2" Is Laced With Heavy Artillery: Review

On Meet The Woo 2, Pop Smoke’s ficial debut album, he sticks to his comfort zone. But there is growth to be found — both musically and personally. The 20-year-old Brooklyn phenom delivered an equally glossy and gutter debut with Meet The Woo. Successfully merging together the sounds UK drill (influenced by the genre’s Chicago roots) and London’s penchant for electronic music, the rapper’s menacingly deep voice delivered a sobering reality. He relentlessly turns an opp into a duppy and barely wastes a breath mentioning the color his Balmain jeans. His recklessness and haunted realities were masked as viral bangers like “Welcome To The Party” and “Dior” that would propel him as New York City’s next up.

The Brooklyn drill scene wouldn’t exist without the efforts Bobby Shrmuda. But even as artists like 22Gz and Sheff G spearheaded the sound in Brooklyn, it’s artists like Pop Smoke and Fivio Foreign that banked on the opportunity the international crossing as UK drill began to gain both prominence and notoriety at the same time. Meet The Woo 2 expands even further on the sonic mission as 808Melo reclaims the driver seat on the project, directing the frenetic marriage grime, drill, and trap in the same direction. Following the dominant intro on “Invincible,” Pop Smoke and Quavo bring out the heavy artillery on “Shake The Room.” For the most part, the song’s vibe can be summed up by Pop Smoke’s go-to bar: “Henny, no chaser.” There’s enough ferocity on his part that it’s hard not to imagine one beating their chest after slugging down hip-hop’s favorite brown. With Melo on the beat, Pop Smoke manages to bring out an ounce inspiration out Quavo who has seemingly mailed in every single collaboration he’s done since Culture. It’s an important collaboration, too, since Quavo is the only A-List name attached to the project. Pop Smoke makes the most with his hometown contemporaries but the addition Quavo marks one the few major co-signs on wax, aside from a Travis Scott collab in December.

It’s easy to forget Pop Smoke is only 20-years-old due to his guttural vocals but there are moments throughout the project that remind everyone that he’s still new to this pressional world. Weeks after his arrest over a stolen Rolls-Royce, it’s Steven Victor– Pusha T’s manager and head the newly launched Victor Victor label Pop Smoke is signed to– that has been teaching the Brooklyn rapper how to maneuver through board rooms and courtrooms. On “Get Back,” Pop Smoke lets f clips for ad-libs as he details a crime-filled lifestyle. “N***as tryna lock me up and give me a bid, huh?/ I’m like n***a, f*ck the pigs/ The judge like, ‘Why you actin’ like a dick?’/ I said, ‘I’m movin’ like I’m Steven Vic.’” 

Pop Smoke's "Meet The Woo 2" Is Laced With Heavy Artillery: Review

Scott Dudelson/Getty s

Meet The Woo 2 doesn’t necessarily combat the criticism that Pop Smoke lacks versatility. He plays into his strengths more than anything else. The distinct raspiness in his voice is where the money is. Even though it’s suited for the intensity the UK drill-infused production, there are still moments where he proves it can expand past that. Songs like “Christopher Walking” build on some the melodic-driven delivery from “Brother Man,” committing further to the sing-rap variation; though occasional Quavo/Travis Scott-like adlibs make the gruffness more palatable, it’s more for texture’s sake. Even if Pop Smoke sounds wildly out place when he details romance, songs like “She Got A Thing” perfectly suit the female demographic without sounding like a stretch. With Axl’s smooth but gritty production complimenting the raspiness, Pop Smoke teeters into the harmonies to detail love under dim strip club lights: “Climb on top, do a split/ She wanna do it on my dick/ Sit on my Amiris, I told her look out for the stick… Woo, she gon’ do it for these bands/ She make it clap like how I do both my hands.”

Perhaps the idea mainstream appeal isn’t Pop Smoke’s aim quite yet but his unique sound is one that won’t be replicated authentically. His sound stems from a regional creative uprising in Chicago before producers in the UK innovated it. Even with aspirations for global acclaim, at the end the day, Pop Smoke’s Meet The Woo 2 brings it all back to the mecca hip-hop.

R. Kelly Reportedly Granted Bail Hearing

R. Kelly could find his way out jail in the coming months after a judge approved his motion for reconsideration to be released on bail. According to AllHipHop, R. Kelly’s motion for a new bail hearing has been granted by Judge Harry D. Leinenweber. The singer’s lawyer Steven Greenberg filed the motion on Kelly’s behalf, denying he was a flight risk because his fame and using the singer’s previous child ography case as an example.

R. Kelly Reportedly Granted Bail Hearing
Antonio Perez – Pool Getty s

“Mr. Kelly never missed a single court date, from 2002 to 2008, on his previous case. The court did not consider that Mr. Kelly appeared for each and every day his trial and was present when the jury’s verdict was read. The court never considered that Mr. Kelly has been aware these federal investigations and yet did not abscond,” Greenberg said in court documents.

If Kelly is granted bail, Greenberg proposed that the judge puts the disgraced singer under home confinement with an electronic monitoring device. Additionally, Greenberg promised his client wouldn’t contact minors and keep his use the internet and social media to a bare minimum. R. Kelly will have to face Judge Harry D. Leinenweber on March 5th.

Kelly is still facing additional charges in Minnesota and New York for -related crimes. We’ll keep you updated on any new developments. 

Jay Electronica’s Album Rumoured To Feature Heavy Jay-Z Presence

Jay Electronica fans have somehow clung to the notion that patience is indeed a virtue. And up until a few weeks ago, it seemed an entirely thankless one. That all changed with the announcement Jay Electronica’s long-awaited debut album A Written Testimonya project recorded in 40 days and 40 nights and scheduled for a March 16th arrival date. In his reveal Tweet, Electronica promised Jay-Z’s presence, though he neglected to expand beyond that. Now, Onsmash has claimed that there will be more Hov than initially expected.

Jay Electronica's Album Rumoured To Feature Heavy Jay-Z Presence

Brian Ach/Getty s

According to their report, A Written Testimony is something like a spiritual successor to Watch The Throne, albeit not quite a full-fledged collaboration album. They declare that the Jigga Man will be blessing over seven tracks, making this his most highly involved release since 2018 Beyonce collaboration album Everything Is Love. As now, neither the Jays have confirmed these reports, though should the intel prove correct, fans are in for a genuine treat. Especially given that longtime Hov collaborator Young Guru is set to handle much the production. 

Look for Jay Electronica’s anticipated first album (after over a decade in the game) to arrive on March 16th, featuring a healthy dose Jay-Z throughout. Given the pedigree both lyricists, might we have a modern-day classic album on our hands? 

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LiveXLive Acquires EDM Promoter React Presents for $2 Million

Live-streaming concert and original content platform LiveXLive has acquired React Presents, an organizer and promoter of EDM concerts. 

The deal came at a price of $2 million, according to the companies. The sum was funded with a convertible subordinate note, a type of debt security that can be leveraged against stock. It was also revealed that the buyout’s terms will cover two years at eight percent interest, with a per-share rate of about $4.50. 

React Presents promotes electronic music concerts, clubs, and festivals, including the Spring Awakening Festival, which is held annually in Chicago. The most recent Spring Awakening concert series took place in June, and information about 2020’s event is expected to be made available soon. 

Along with news of the React Presents purchase, LiveXLive released its Q3 fiscal year earnings. The West Hollywood-headquartered company’s revenue topped $9.7 million between October and December 2019, up from $8.6 million during the same period in 2018. This income comes out to a loss of about 15 cents per share, which is less than some investors anticipated.  

LiveXLive’s stock, traded under the Nasdaq symbol LIVX, fell by about 30 percent on the heels of the earnings report, to less than $1.30 per share. Even so, the company’s executives are confident that they can be successful moving forward, partially because of the new concert options and festivals included with React Presents.

In a similar vein, LiveXLive bought Slacker Radio for $50 million in 2017. 

Besides providing digital access to live concerts, LiveXLive offers music streaming and media relating to artists. For instance, the company recently released a “Green Day DNA” episode to promote the California punk trio’s newest album, Father of All… The half-podcast, half-playlist program describes some of the many musical influences on Green Day’s career before playing these tracks for listeners. 

Apple Potentially Working On A Folding iPhone Based Off New Patent

Apple is gearing up for a new year fresh tech, with recent reports  a smaller, more affordable iPhone in the works arriving just a few weeks ago. Now, it’s looking like the house that Steve Jobs built is finally looking to get into the innovative folding phone market if these latest unearthed patents are accurate. 

AppleInsider reported on the patent (seen above), which was first published by the US Patent and Trademark Office on Tuesday (February 4) under the title “Electronic devices with flexible displays and hinges.” As the description notes, this new device would incorporate “a flexible display that overlaps an axis,” which could actually fold without a crease and might even use glass instead  plastic. What sets this one apart from, say, the Samsung Galaxy is a new hinge mechanism that makes the middle bend outwards as it folds over. As AppleInsider states, the “ster bend” inside the hinge allows for the use less flexible glass panels and less pressure at the point the curve.

Check out ficial photos the folding iPhone concept over at AppleInsider, where you can also find more details from the ficial patent. Let us know if you think this will be the move that makes #TeamiPhone come out on top in the phone wars down in the comments. 

Jay Electronica Announces His Album Is Complete, Will Be Released In 40 Days

It might be a tad like the boy who cried wolf, but Jay Electronica swears that his next album is dropping this year. Believe it or not, Jay hopped on social media on Thursday (February 6) and stated that his long-awaited project is on its way. “Album done,” he tweeted, followed by a few more messages regarding his record.

Jay Electronica Announces His Album Is Complete, Will Be Released In 40 Days
Christopher Polk / Staff / Getty s

“Recorded over 40 days and 40 nights, starting from Dec 26,” he wrote. “Releasing in 40 days.” Then, he suggested that the title the record may be “A Written Testimony,” but that has yet to be confirmed. After over a decade promising a new album, it looks like the world will receive some new Jay Electronica tunes on March 18. Unsurprisingly, the masses aren’t holding their breaths as they’ve taken to social media to share their disbelief that the project will actually arrive. Considering that back in 2012 Jay even shared a tracklist in anticipation a release that never came, hip hop fans aren’t placing bets on this one.

For the hopefuls, this will be the follow-up to Jay’s 2007 mixtape Act I: Eternal Sunshine (The Pledge)—his only full-length release as yet. They say great things take time, so check out a few reactions to Jay Electronica’s news and let us know if you believe he’ll drop this one on time.

Jay Electronica Claims His Debut Album Is Done & Dropping In March 2020

Jay Electronica is providing his fans with a glimmer of hope. The enigmatic MC has claimed his debut LP is finally ready to drop after more than a decade of delays.

The New Orleans-bred artist shared his unexpected update on the album in a series of Twitter posts on Thursday night (February 6).

“Album done,” he wrote. “…my debut album featuring Hov man this is highway robbery.”

According to Jay Elec, fans won’t be hearing an album that was recorded years ago either. He says his upcoming LP was created over a 40 day period beginning last December.

“Recorded over 40 days and 40 nights, starting from Dec 26,” he wrote.

The veteran rapper also noted the project would be released in 40 days, which would mean its due out in March.

Jay Elec has declared his album’s release date was imminent before, yet he still hasn’t dropped a project since signing with Roc Nation in 2010. He hasn’t revealed if his upcoming LP has maintained its Act II name or if that title has been scrapped.

Act II was first teased to drop as early as 2007. Jay Elec later suggested the album would drop in 2009 prior to inking a deal with JAY-Z’s label.

Erykah Badu Burns Own Panties To Create Vagina-Scented Fragrance

Earlier this month, it was heavily reported that Gwyneth Paltrow’s Goop company was selling a candle that smelled like her vagina. Everyone who curiously clicked on this story discovered that this candle was not actually designed to replicate the scent Paltrow’s vagina, but was merely marketed in this way because she remarked that it smelled like vagina when giving it a first whiff. Erykah Badu, on the other hand, is actually aiming to release a fragrance that smells like her vagina.

In a new interview with 10 Magazine, the 48-year-old singer-songwriter detailed her plans to sell “Badu’s Pussy” incense through her soon-to-launch online store, Badu World Market. “I took lots pairs my panties, cut them up into little pieces and burned them,” she said. “Even the ash is part it.” Badu didn’t mind disposing her underwear to craft this olfactory tribute to her “superpower” because – as she revealed in the interview – she no longer even wears underwear. 

The notion that Erykah Badu’s vagina has superpowers is one that has circulated in hip hop folklore. She has birthed children with three rap legends: Andre 3000, Jay Electronica and The D.O.C. When you consider the connecting thread between these men, they are all incredibly talented lyricists who have been really bad at regularly releasing music in recent years. Badu has been asked in the past whether her “superpower” has something to do with this phenomenon. 

Record Label Lawyers Want To Ask Jurors About Their Torrenting Habits

The piracy case against ISPs continues with juror questions about their piracy habits. Record label lawyers want to know potential juror’s torrenting habits in an upcoming trial.

The piracy case against Cox and other ISPs accuses them of not doing enough to curb piracy on its network. As part of the jury selection procedure, these questions may ‘weed out’ those who have committed piracy themselves.

The RIAA supported the legal campaign, and after a two-week trial – . Now music companies have turned their eye to .

Warner Bros., Sony Music, and Capitol Records say Grande turned a blind eye to pirates. Record label lawyers are asking a judge to hold Grande accountable for those copyright infringements. A summary judgment was granted in favor of the record labels in March 2019, allowing a trial with no . That puts Grande Communications at a severe disadvantage in arguing their case.

This week, both parties in the lawsuit submitted their ‘voir dire’ questions for prospective jurors.

Both legal teams can ask these questions during the selection process to select unbiased jurors. While some of the questions make sense, others appear to gauge potential jurors’ sympathy toward piracy.

“Have you ever downloaded content from any BitTorrent website?” one question reads. Another asks if jurors have listened to music obtained from any service. These questions even ask if potential jurors have supported the Electronic Frontier Foundation or read Ars Technica or TorrentFreak.

Record label lawyers are likely hoping to select jurors that do not engage in piracy. Or read websites where piracy and the laws surrounding it may be discussed. Another question asks if jurors believe there are “too many frivolous lawsuits nowadays,” while asking for examples of what the juror considers frivolous.

Jury selection for the trial will take place on February 24, with the trial starting on February 25.

D12’s Bizarre Details Joe Budden Beef With Shady Crew: "You Disloyal, B*tch Ass"

He may have recently called for Eminem to stop dissing him on his tracks, but years ago Joe Budden had no problem taking to his platforms to criticize his former friend. The podcast host has spoken out against Eminem quite a few times, including on his podcast back in 2018 where he goes f about the Shady Records founder for over an hour and a half.

D12's Bizarre Details Joe Budden Beef With Shady Crew: "You Disloyal, B*tch Ass"
Phillip Faraone / Stringer / Getty s

Budden’s relationship with both Shady and Eminem has been a strained one, and D12’s Bizarre recently sat down with RealLyfe Productions to discuss what he calls the facts behind the tension. “I just felt like, it’s his job to give his opinion, but I really analyzed it and I’m like, damn bro, this is assassination,” Bizarre recalled Budden’s critiques Em’s Revival. “He just one them n*ggas that got diarrhea the mouth and he just went too far. It wasn’t like he was like ‘I ain’t feelin’ this.’ That n*gga was like, ‘This is that—I will not stand around and let this man talk to black people and make a mimick…’ I’m like, n*gga, this n*gga paying your f*ckin’ rent. What the f*ck is you talkin’ ’bout?”

“Like, n*gga you disloyal, b*tch ass. What the f*ck]? You know what I’m sayin’?” Bizarre continued. “You act like you ain’t even know this man just because you got another opportunity that’s in front you. Loyalty’s a big thing with us in our crew. That’s how we got on. We made a pact that whoever get on first comes back and get everybody else. Em pulled me from Dallas. My life was over.”

Then, Bizarre broke down the beef a bit more. “So, Joe Budden was supposed to get a job with Diddy on Revolt. What happened? Do you think if he got a job on Revolt he can say Puffy album was wack? Think he’ll be able to say he ain’t feelin’ French Montana new sh*t?” Bizarre added that he’s not saying that Eminem or anyone else is above criticism, but you should tell someone, especially a friend and label head, “f-camera.”

Bizarre also said he felt bad because it was D12 who vouched for Budden and let him in the circle. They needed someone to hop on their tour and Royce Da 5’9″ recommended Budden. At first, D12 was against it because Budden dissed them on a track. On a conference call, Budden reportedly apologized. They all ended up making amends, and it was on that tour that Slaughterhouse was allegedly developed.

“Everybody helped the process, so it’s like, bro—and before that, n*gga, you was still the] ‘Pump, pump, pump it up’ man,” Bizarre added. Check out his full clip below to hear more why Budden’s beef with the Shady crew runs deep.