Stagelight Acquired By Roland ⁠— Launching New Product Called Zenbeats

Open Labs has announced Roland Corporation has acquired Stagelight. 

The announcement says the app and team will continue under Roland. The development has continued at a rapid pace, and the team is introducing a new product called Roland Zenbeats. Zenbeats features Roland sounds and a newly designed interface. 

It also includes on-screen instruments, 3rd party plugin integration, and drag and drop support. Also supported are collaborative jamming Ableton Link, streamlined cloud support, and enhanced exporting options. 

Alongside the announcement, Stagelight users have a special offer for those who switch to the new platform. For 90 days, all current Stagelight customers are eligible to receive their equivalent version of Zenbeats at no additional cost. 

All Stagelight credits will be honored through December 31st, 2019. Users can spend their remaining credits in Stagelight before transitioning to the new platform. Existing songs, recordings, and audio can be imported into Zenbeats from the Stagelight library. Cloud users just need to change the folder name from Stagelight to Zenbeats. 

The company has also provided directions for how to transfer purchased content into Zenbeats. However, there is a note that some content will not transfer. Most of that content appears to be licensed content that may be non-transferable in such an acquisition. The full list of non-transferable content is still pretty substantial, though. 

Stagelight to Zenbeats – Non-Transferable Content

  • Timbaland Loops
  • Linkin Park Loops vol 1
  • Timbaland Drums
  • Linkin Park Loops vol 2
  • Linkin Park Drums 1
  • Synthetic Vol 2
  • Linkin Park instruments
  • Linkin Park drums 2
  • Ambient Soundscapes 1
  • Ambient Soundscapes 2
  • The Follower
  • Smiling Psychopath
  • Meltdown
  • Bengal Delta
  • Brooders
  • Classic Beats
  • Thin Ice
  • Heroes
  • Goodbye
  • Bled Dry
  • Zero Gravity
  • Clown Hunt
  • Guru
  • Future Funk Loops
  • Dubstep Drums
  • House Drums
  • 5 Speed
  • Duelin
  • Neon Flight
  • Fearless
  • Alien Technology
  • World Percussion
  • Organs Vol 1
  • Neon Keys 1
  • Neon Keys 2
  • Lightwave
  • Vintage FM
  • Vox tools
  • Future Funk Drums
  • Future FM

The Mechanical Licensing Collective (MLC) Requests $66.25 Million In Funding

So, how much does it cost to get a mechanical licensing collection agency off the ground?

That would be $37.25 million before the agency opens its doors, and another $29 million to get through the first year.  All in, the as-yet-unformed Mechanical Licensing Collection (MLC) is asking the U.S. Copyright Office to green-light a whopping $66.25 million — just to get off the ground.

That’s a jaw-dropping number — even by unicorn-chasing Silicon Valley standards.  Indeed, that kind of money in such a short time period usually means that investors are looking for a billion-dollar exit.  But in this case, the aim is just to create an agency that collects, processes, and pays mechanical streaming licenses — specifically to US-based publishers and songwriters.

In a proposal made public on Tuesday (September 17th), the major publishers backing the MLC insisted that their estimate was both “efficient” and “effective”.

“The CRB submission is the result of months of research on the most efficient and effective way to run this unprecedented new collective that will serve the needs of both the songwriters and their music publishers as well as the digital music services from Day One,” the group explained.

“The proposed start-up assessment is $37.25 million, with an annual assessment starting at $29 million in 2021, when the MLC commences its blanket licensing operations.”

We’re not sure how much of that $66.25 million will go towards salaries, though we’re expecting a few seven-figure executive positions to emerge.  Already, SoundExchange CEO Michael Huppe is strongly rumored to be advancing towards a big MLC role.  Huppe has been roundly criticized for pulling a salary north of $1 million, despite waning revenues at SoundExchange and a number of chronic payout issues.

The MLC was created by the Music Modernization Act (MMA), which was in October of 2018.

In short order, the proposal backed by major publishers Sony/ATV, Warner Chappell, and Universal Music Publishing Group won the bid to run the MLC, edging out a rival group that ran on a more cost-effective platform.

All of which means the MLC is now in a position to enjoy the spoils.  But one interesting wrinkle is that the U.S. Government won’t be footing this bill — at least not the lion’s share.  Instead, major streaming platforms and tech behemoths like Spotify, Apple, Amazon, Google/Alphabet, and others will pay the modest ‘startup’ fortune.

That sounds like the beginning of another fight, with ‘partners’ like Spotify quickly turning into adversaries once the MMA was passed.  Presently, a consortium of music publishers are battling against Spotify, Amazon Music, Pandora, and Google over the rate that streaming services should pay for mechanicals.

So perhaps this just becomes another battleground.

“We are going to continue to work tirelessly in these CRB proceedings to ensure the tech giants who joined with us to pass the MMA continue that partnership to fully fund the most important piece of the legislation, the entity that will actually implement the requirements of the legislation,” warned MLC Board Chairman Alisa Coleman.

Already, signs of tense relations are surfacing.  Behind the scenes, rumors are swirling that major streaming platforms are being asked by major music publishers to withhold streaming mechanical payments to songwriters and publishers who claim them.  Instead, those payouts would be reallocated towards starting up the $66.25 million MLC machine.

The MLC officially gets started on January 1, 2021.

More as this develops. 



Sony Rejects a Breakup Demand by Activist Investor Third Point

Sony has roundly rejected the break-up proposal, which was initiated by activist investor Daniel Loeb.

Just hours ago, Sony Corp. officially rejected a plan to spin off its semiconductor business in a 8-page letter it sent to its shareholders.  The plan had been proposed by activist investor Daniel Loeb and his Third Point hedge fund.
That doesn’t affect subsidiary Sony Music Entertainment directly, as the label conglomerate wasn’t the source of Third Point’s ire.  But it does signal a greater focus on merging media and technology under the broader Sony umbrella.

Kenichiro Yoshida, who is the CEO of Sony, expressed in the letter — titled “Enhancing Corporate Value Over the Long Term as a Creative Entertainment Company With a Solid Foundation of Technology” — that his company’s strategy of diversification was working well.

As proof of this, he cited the record profits Sony has experienced during the course of the past two years.

Yoshida also indicated in the letter that Sony’s board of directors did agree with one point of Loeb’s proposal, which stated that the company’s Imaging and Sensor Solutions division was a “Japanese crown jewel and technology champion.”  But he said that the division, which produces image sensors for various smartphones such as the iPhone, would continue operating as an integral part of Sony.

He went on to say that the conglomerate sees sensing and artificial intelligence being utilized in the future across a full range of applications, which includes IoT, Games, Autonomous Vehicles, and Advanced Medicine.

The company further believes that image sensors will one day evolve from purely hardware to complete platforms and solutions.  They believe as well that the technology industry and media are converging, with many top entertainment companies purchasing technology while technology companies were beginning to dabble with entertainment.  That theoretically applies to Sony Music, whose day-to-day is now defined by tech platforms.
In 2013, Loeb acquired an interest in Sony. Even then, Loeb was trying to get the conglomerate to spin off divisions as a means of increasing the company’s value.  Initially, Third Point was trying to get Sony to sell its motion pictures division. Ironically, this year, as Third Point’s stake in Sony increased to $1.5 billion, Loeb now wants the company to sell its technology divisions while making entertainment its core business.

Music Publishers Just Doubled the Size of Their Lawsuit Against Peloton

Late last week, a group of music publishers amended their previous lawsuit against Peloton.

Peloton is a tech-focused exercise bicycle startup with designs on a $500 million IPO.

In the original suit, which was filed in a New York federal court in March of this year, music publishers demanded $150 million from Peloton for the use of unlicensed music in their exercise videos.  The publishers, corralled by the National Music Publishers’ Association (NMPA), have since found more than 1,000 additional infringements, and because of this, they have doubled their demands to $300 million.

NMPA lawyers say that they found the new infringements during the discovery process. Among the songs they say Peloton infringed upon includes: “Georgia on My Mind,” “I Can See for Miles,” and “I Saw Her Standing There”.  All huge songs, with apparently huge infringements happening.

News of the amended lawsuit comes as Peloton is attempting to raise a half-billion dollars through an IPO.

The company began in 2012 and is said to have sold many hundreds of thousands of its bicycles, which come with interactive entertainment and training that includes the unlicensed music.

In the S-1 filing it submitted to the SEC, Peloton mentioned the difficulty it has had in obtaining music licenses and called this a ‘risk factor’.  It further mentioned the lawsuit and said that it “intends to vigorously defend” its interests in court. To this end, the company filed a countersuit against the music publishers in April, claiming that the publishing group violated antitrust law through the efforts of the NMPA, who they claim has been trying “to fix prices” among its members while engaging in effort to get them to refuse “to deal with Peloton.”

The music publishers have denied Peloton’s collusion claims and have filed a motion to dismiss the countersuit. They insist that each publisher independently decided to not sign a licensing deal with Peloton. So far, the judge in the case has yet to rule on the dismissal motion.

Peloton’s aggressive countersuit may have been unexpected, and is reportedly creating massive additional costs for the NMPA.  Of course, the NMPA’s doubled-down action isn’t a guarantee of victory, though does guarantee massive additional litigation costs.  That’s bad news for the NMPA and its fearless leader, David Israelite, which is also battling major streaming platforms and tech giants Spotify, Google/Alphabet, Pandora/Sirius XM, and Amazon over streaming mechanical rates.

HMV Is Opening a Massive, 25,000 Sq. Ft 'Entertainment Store'

Venerable British music chain HMV certainly has had its ups and downs in recent years.

While HMV has filed for bankruptcy multiple times, including last December, this seemingly has not stopped it from expanding its operations. In February of this year, Sunrise Records in Canada bought the chain for £883,000 ($1.4 million), and now HMV is about to open a 25,000-square foot entertainment store in the English city of Birmingham this October that it is calling the ‘HMV Vault’.

While brick-and-mortar retail stores are closing all over the world, HMV is defying this trend by opening what they say will be “a nirvana for music and film fans.” Located near Birmingham’s city center, the Vault will offer an enormous range of music, film, tech products and other types of merchandise.

Those who love vinyl records will particularly enjoy visiting the Vault.

HMV says that they will offer thousands of LPs. The store will also cater to those who love specialty music. They expect to carry a large range of Classical, Jazz, Folk, Country, Blues, and World Music.  Complementing all this music will be the Vault’s stage area and sound system, which they will use to showcase music artists. This will include weekly in-store performances and artist signing sessions.

The vault will further offer a wide range of videos on DVD and Blu-ray (including a big selection of 4K videos), which will include films, television shows, and box sets. They will also sell HMV-exclusive editions, too, as well as books, posters, and t-shirts.

HMV, which is quickly approaching its 100th anniversary, is still the largest entertainment retailer in the United Kingdom — at least physically speaking.

They currently have more than 100 stores across the country.  Until recently, that sounded like a nightmare liability, though physical retailers are now enjoying an unexpected resurgence.  Even Amazon is opening physical bookstores — oh the irony — based on a nostalgic return to tactile media products.

HMV’s new entertainment mega-space will officially open mid-October.

Beyoncé’s "Homecoming" Snubbed From All Six Of Its Emmy Nominations

In April, Beyoncé released the two-hour documentary showing the process behind and the performance her iconic 2018 Coachella performance. For anyone who attended the festival or streamed the headlining set, it was clear how much effort went into putting together this dazzling production. But Beyoncé always provides a multi-faceted experience, so she presented us with the Netflix special, Homecoming, to prove just how seriously she takes her art.
When watching Homecoming, it’s hard to keep your jaw f the floor. Throughout the performance, there are over 200 people on stage with her and not one them is seen missing a beat. The massive band on a levelled platform behind her dances and plays simultaneously. The renditions and transitions between Beyoncé’s hits are grand and exhilarating. There are skits and guest appearances dispersed throughout. All in all, the performance and its accompanying film were impressive as hell – schooling us on what it means and takes to be the world’s greatest living performer. 
Beyoncé's "Homecoming" Snubbed From All Six Of Its Emmy NominationsLarry Busacca/Getty s
When it was announced in July that Homecoming was nominated for six Emmy awards, the Bey Hive rejoiced to see their queen’s excellence acknowledged in this new sphere. While the Emmys ceremony will be airing next Sunday (September 22), the 71st Primetime Creative Arts Emmy Awards take place this weekend. The Creative Arts Emmys is a two-day event at The Microst Theatre in Los Angeles, where the more technical awards are given out. 
Last night, the winners for all the categories that Beyoncé was up for were revealed and, tragically, she was not one them. She lost for outstanding variety special, outstanding costumes for variety, non-fiction or reality programming, outstanding directing for a variety special, outstanding music direction, outstanding production design for a variety special and outstanding writing for a variety special. 

The loss that got fans most upset was for best variety special, which was taken home by James Corden for his Carpool Karaoke special with Paul McCartney, When Corden Met McCartney. While Corden’s show usually consists him picking up celebrities and driving around while singing their favourite tunes, the McCartney episode was a bit more special, as they toured the Beatle’s childhood home in Liverpool and performed at a pub. However, many would still argue that a lot more talent was evidenced in Beychella and its doc. 
Check out some infuriated fans’ reactions below. 

Warner Music Joins $11M Investment In Cryptocurrency Start-Up

Warner Music is betting big on blockchain technology after joining an $11.2 million investment in Dapper Labs.

Dapper Labs is the cryptocurrency dev team behind the wildly popular Ethereum-based crypto game, CryptoKitties. CryptoKitties users can buy unique digital kitties and “breed” them together for unique traits.  CryptoKitties got so popular that it caused transaction issues on the ethereum blockchain. If those issues can be resolved, the technology could be used to for other digital assets.

Warner Music joins the likes of Andreessen Horowitz, Digital Currency Group, Venrock, and others. Warner Music senior vice president of business development Jeff Bronikowski says the tech could be used to develop tradable digital merchandise.

Bronikowski says ‘s blockchain will work with Dapper Labs to “create digital assets” using a new public blockchain technology. The new blockchain is called Flow and it is designed to handle transaction volumes many times great than ethereum.

This $11.2M round of fundraising will be spent on finishing the Flow blockchain and building apps on it. Accredited investors will receive a cut of the company stock with the option to convert stock to tokens.

Warner Music contributed less than $1 million to the final total amount. Dapper Labs is Warner’s first move into the world of blockchain technology.

Warner is betting big that Flow will provide digital authenticity in the future. These non-fungible tokens can be used to distribute signed albums or other objects, accruing real value.

“When I was in college, you’d walk into someone’s room and you’d see 200 CDs and you would say, ‘That guy’s a big music fan.’ And now you just see somebody with a music subscription service and some playlists. We think that as people spend more time crafting their persona in the digital realm, digital goods and collectibles is a great way to express that fandom.”

Aside from researching the blockchain and non-fungible tokens, Warner is also said to be looking into using cryptocurrency to let fans tip artists.

Tim Tebow Angers Entire Internet With Controversial Student Athlete Stance

Tim Tebow was a beloved player in college while playing for the Florida Gators although once he got to the NFL, it was clear he just wasn’t good enough. Tebow’s throwing technique was Uncle Rico-esque and will most likely go down as one the worst NFL quarterbacks all-time. Now, Tebow can be found trying to get a baseball career f the ground although it’s not really going too well for him right now. 

Today, Tebow got himself into some trouble while appearing on the ESPN debate shoe First Take. Tebow was on the program to talk about California’s “Fair Pay to Play Act” which was recently voted in. The act would make it so college athletes can be paid and prit f their likeness being used, specifically in the form jerseys. As it turns out, Tebow is completely against that and had some strong words about it.

Per Tebow:

Deezer Introduces a New Payment System to Better Reward Artists

Deezer launched a new website today touting the benefits of a ‘User-Centric Payment’ system.

The music streaming service is hoping to get rights holders on board to create a new payment structure for artists.  The user-centric payment system will start as a pilot in France early next year.  If that pilot program goes well, the UCPS will roll out to the rest of the world.

Deezer currently handles royalty payouts by paying artists a percentage based on the listens they get. Under the newly proposed system, subscription fees will stop being pooled. Individual subscriptions will only go to the artists you listen to.

In the current accounting and payout system — which is also employed by Spotify and others — an artist receiving 100,000 plays from a fan wouldn’t realize the economic benefit from those direct plays.  Instead, that money would be pooled across millions of artists and their plays, then parsed out based on overall, aggregated spins on the platform.  In the end, DJ Khaled and Ed Sheeran would end up hogging a bigger piece of the action, even from a non-fan.

It’s a bit confusing, so Deezer laid out a graph that helps explain things better. The short answer here is that UCPS addresses issues in which small-time creators are paid much less than mega-stars like Drake.

Deezer says it already has the technology to put the new payment system in place. Now the company just has to get the Big Three major labels on board.  Already, over 40 other labels have agreed to the new payment structure.

Deezer believes the new system could help indie artists earn up to 30% more.

Top streaming artists may see an impact on their bottom line, but says the decrease will be 10% less. One of the major benefits of UCPS is eliminating streaming fraud from bots, which can impact pooled royalty payments.

The #MakeStreamingFair social media campaign is hoping to bring attention to the new payment method. Deezer says UCPS would help fix chart distortion from younger listeners. The 18-25 market generates 19% of subscribers, but only around 24% total royalties.

The general idea is to get artists paid for the listeners they do have, instead of counting on tiny percentages of a much larger pool.  How successful Deezer will be without remains to be seen.

Jennifer Lopez & Jimmy Fallon Impress With Their Knowledge Of "Music Video Dancing"

We’ve known forever that Jennifer Lopez can dance and she’s proved it time and time over in all her music videos and stage performances. The 50-year-old took her skills to another level in her soon to be released film Hustlers when she learned how to bust out moves on the stripper pole but if that wasn’t enough to prove her techniques, then the recent video her music video dance knowledge will secure her as a top dancer. 

The “Dinero” singer was a recent host on The Tonight Show with Jimmy Fallon and together the duo showed f their dancing moves to some the most classic tunes in the vault. From “Waterfalls,” the Macarena, “Here It Goes Again,” “Bye Bye Bye,” “Single Ladies” and so much more, Jimmy and Jennifer prove to be the ultimate dancing duo. 

During her visit, Jennifer admitted that she didn’t know how to pole dance before her Hustlers film and had to hit up Cardi B for advice. “I remember I called Cardi, Cardi’s in the movie as well—Cardi B—and I was like ‘You have to be in this movie, you know this world, you could teach us,'” she said. “I was like, ‘I’m learning how to pole dance. This is really hard!’ She goes, ‘Oh yeah, it took me years years to master but now I’m great at it!’ I was like, ‘Well, then you have to be in the movie!'”

CASE Act: A Small Claims Copyright Court Is Getting Closer to Reality

What if smaller copyright infringement cases could be quickly resolved in the U.S. legal system — just like Small Claims Court?  That’s the idea behind the newly-revived CASE Act.

We’ve been covering various initiatives in U.S. Congress to create a small claims copyright litigation court, though the idea had previously failed.  Not this time, however.

After initially failing to get the Copyright Alternative in Small-Claims Enforcement (CASE) Act off the ground in late-2017, Representatives Hakeem Jeffries (D-NY) and Tom Marino (R-PA) managed to resuscitate the bill this year.  By May 1st, it was formally re-introduced, and quickly .

Now, things are progressing further.  Just last night (September 10th), the House Judiciary Committee also passed the CASE Act, setting it up for a broader Congressional vote.  

If passed, the U.S. Government would create a dedicated Copyright Claims Board.  Three Copyright Claims Officers – appointed by the Librarian of Congress – would serve a six-year term, adjudicating and settling infringement claims.

In addition, the Register of Copyrights would hire no fewer than two full-time Copyright Claims attorneys.  Copyright holders could then file claims at a small claims court in the US Copyright Office.  Damage awards would be capped at $30,000.

Whether President Trump would sign the bill is anyone’s guess.  Though Trump has been supportive to the music industry in the past, particularly by signing the Music Modernization Act into law.

The Recording Academy, which oversees the Grammy Awards, applauded the movement of CASE.  “With the House Judiciary Committee’s passage of the CASE Act, music creators are one step closer to having a simpler and more cost-effective way to defend their original works against infringement,” Daryl Friedman, Chief Industry, Government & Member Relations Officer of the Recording Academy, emailed Digital Music News.

“I urge both chambers to pass this legislation to eliminate the unfair advantage against creators that currently exists in copyright law and protect the bility of the music industry.”

Representative Doug Collins (R-GA) was similarly enthusiastic.  “If the CASE Act is signed into law, it will create a more streamlined and significantly less costly means for photographers, songwriters and graphic designers to fight property theft and protect their livelihoods,” Collins relayed.  “I would encourage all of my colleagues in both the House and the Senate to support and pass the CASE Act.”

Critics are largely coming from the tech side.

That includes Public Knowledge and EFF, both widely regarded as mouthpieces for Google.  Both organizations have warned against the perils of a small claims court, largely because it will invite abuse.

“We recognize that federal litigation can be expensive, making the pursuit of many small-dollar-value claims impractical for copyright holders,” the Electronic Frontier Foundation (EFF) recently stated.  “But we believe that much of that expense results from procedures that promote fairness, established and refined through decades of use. Creating a new, parallel system that allows copyright holders to dispense with those procedures invites abuse, especially given the Copyright Office’s institutional bias.
“In attempting to solve a problem for some copyright holders, Congress must not create new incentives for the abuse and exploitation of individual Internet users by unscrupulous litigation businesses.”

Taylor Swift Threatened to Sue Microsoft Over Its 'Tay' Bot — Before It Went on a Racist Rampage

Taylor Swift has been involved in quite a few legal actions. But one that never got off the ground may be the most interesting.

The strange tale of a threatening Taylor Swift is included in a new book by Microsoft president Brad Smith.

In Tools and Weapons, Smith relates the story of how Microsoft developed a U.S. version of its popular Chinese chatbot ‘XiaoIce’ back in 2016.  That chatbot was designed to hold conversations over social media.  Microsoft called their newest chatbot ‘Tay’.

But this swiftly got Microsoft into trouble with a certain diva and her legal team.  As Smith was about to have dinner while on vacation, he received an email from Swift’s lawyer.  The lawyer told Smith that the term ‘Tay’ was closely associated with Swift and that Microsoft’s use of it was creating a misleading association between Swift and the chatbot.  Swift’s attorney insisted violated federal and state laws.

However, Swift and her legal team never commenced legal proceedings against the company, and the reasons likely had to do with the scandal that quickly led to Tay’s demise.

Tay, which used AI technology to improve the conversations it had with users, fell victim to what Smith calls “a small group of American pranksters.” They began flooding the chatbot with alt-right language, which it unwittingly repeated. This included not only 9/11 conspiracy theories and Donald Trump campaign slogans, but also racist language, such as referring to then President Obama as a “monkey.”

After less than a day of this language, Microsoft decided to kill Tay by disconnecting the chatbot from its Twitter account, and they never again heard from Swift or her lawyer.

That Swift would attempt to claim ownership of “Tay” is certainly believable.

In the past, she has tried to trademark such terms as “This sick beat,” “Nice to meet you. Where you been?” and “1989.” The last term was the year of her birth.

Musicians Demand That Ticketmaster Stop Using Facial Recognition at Shows

Musicians and fans alike are demanding that Ticketmaster stop utilizing facial recognition technology at concerts.

Last year, Ticketmaster announced that they would to admit ticketholders, who wouldn’t need to present a physical or digital ticket. Live Nation, Ticketmaster’s parent company, revealed that they’d partnered with Blink Identity, a brand that develops cameras and software that identify individuals’ faces. (Like GPS, this technology was initially created by and for the government.)

Blink Identity’s equipment is so advanced that, according to their website, each ticketholder would be admitted in real-time—that is, without slowing down or stopping at the gates—if his or her identity matched that of the digital ticket’s owner.

The rapid entry pitch isn’t being embraced by everyone, however.  Music fans who are opposed to facial recognition technology believe that it would compromise the safety, privacy, and overall experiences of attendees. For instance, one’s facial profile could be filtered through a law enforcement database in a matter of seconds; those who are wanted for arrest or questioning — or who may be wanted — could conceivably be apprehended before the concert’s end.

The opposition movement has united around “Ban Facial Recognition,” a comprehensive campaign that’s rallying companies, organizations, and individuals to provide their opinions on the use of facial-recognition technology in the United States.

The multifaceted campaign even offers information that specifically details the negatives of using the technology at concerts and festivals.

Multiple artists, including Rage Against the Machine’s Tom Morello, Amanda Palmer, Atmosphere, and others have already backed the campaign.  “I don’t want Big Brother at my shows targeting fans for harassment, deportation, or arrest,” Morello tweeted.  “That’s why I’m joining this campaign calling on Ticketmaster and others not to use facial recognition at festivals and concerts.”

“People should feel safe and respected at shows, not subject to surveillance, harassment, deportation, or arrest,” Amanda Palmer stated.

“Facial recognition surveillance is fucked and has no place in live music,” tweeted the Downtown Boys.

Though Ticketmaster doesn’t hold authority over the artists who sell tickets through their platform, it’s important to note that Live Nation owns Bonnaroo, Austin City Limits, and several other festivals.

Fight for the Future’s Deputy Director, Evan Greer, anticipates that support from fans and musicians will grow in the coming weeks and months. Fight for the Future was founded in 2011, and it promotes causes related to copyrights, censorship, and online privacy, amongst other things.

At the time of writing, Ticketmaster, Live Nation, and Blink Identity hadn’t publicly responded to Fight for the Future’s campaign.

Gunna Is Set Aflame In Teaser For Young Thug’s "Hot" Music Video

The first music video put out from Young Thug’s latest album, So Much Fun, was for the Gunna-assisted song, “Surf”. The tropical track got a beachy and bright visual, showing Thug and Gunna riding ATVs and shooting waterguns with bikini-clad babes. For the next video f the critically-acclaimed record, Thug has chosen to spotlight another single with Gunna, “Hot”. 

“Hot” can be seen as the antithesis to “Surf”. The former – boasting Wheezy‘s genius production – opens with haunting horns, quickly establishing a dark atmosphere. It’s a maximalistic track that can easily concoct a cinematic hellscape in your mind, with Gunna and Thug snapping in the middle. After receiving the first teaser for the song’s video, it seems it’ll live up to these dark fantasies. 

In the clip that Gunna shared with the caption “I pull my own stunts”, he is seen nonchalantly sitting in a lounge chair at a dining table as his arm and the room surrounding him is set ablaze. Expect a lot pyrotechnics from the “Hot” video whenever it drops. 

Also expect this song to blow up even more because it’s too hot not to. Tom Brady even shared a video on Instagram yesterday celebrating the Pats’ Sunday win with the song playing in the background

Watch Apple’s Special Event Including iPhone 11 Unveil

In a quickly evolving era technology, it’s hard to keep up with all the latest innovations but Apple’s managed to keep everybody focused on what they have up their sleeves. Today, they’re hosting the Apple Special Event at Steve Jobs Theater in Cupertino, CA where they’ll be unveiling brand new products including the next generation iPhones. The rumors surrounding the iPhone 11 have been running rampant in recent times. They’ll unveil the iPhone 11 Pro, the iPhone 11 Pro Max and the iPhone 11 that are set to replace the XS, XS Max, and XR models that were released last year.

In addition to the iPhone, they have other types updates with their devices on the way. They’ll be unveiling brand new details surrounding Apple Arcade, a new gaming subscription, as well as Apple TV+, a brand new streaming service that’s aiming to compete with the other major streaming companies such as Netflix, Amazon, and Hulu. Apple TV+ seems to be making a concerted effort to challenge its competitors witha lower price point $4.99 a month. It’s set to launch in 100 countries and will have shows ready for streaming on November 9th, 2019.

Apple Arcade will also be launching Apple Arcade for the same price, although it’ll be available on September 19th and will include a wide range games from classic titles to new, indie releases.