As “Fed Watching”
featuring Pharrell is burning up the radios, 2 Chainz makes another
statement with “Where You Been?” The track, which features his longtime
collaborator Cap-1, goes hard over the bass-heavy production by Mike
Will Made It.
Please allow me to introduce our company Palace Music Group, LLC. We were established in 1996 as a distribution company. We specialize in Online Digital Distribution, Television and Movie Rights Synchronization. Palace Music Group, LLC is comprised of knowledgeable individuals operating with the right mixture of leadership, talent cultivation, foresight, planning, timing and game plan execution. Palace Music Group distributes unsigned independent artists from ALL genres.
Friday, August 2, 2013
2 Chainz Featuring Cap-1 “Where U Been?”
The Turtles Lead Whopping $100 Million Class Action Against SiriusXM
Enjoy
an old rock tune on satellite radio lately? A new proposed class action
raises the theory that SiriusXM has infringed millions of these older
recordings from thousands of song artists.
Damages are alleged to be at
least $100 million, but for a company that last reported quarterly
revenues of $940 million, the attorneys representing the plaintiff
believe that damage figure to be on the conservative side.
The lead plaintiff in the case is Flo & Eddie of The Turtles, the iconic band whose hits include "Happy Together," "It Ain't Me Babe" and "She'd Rather Be With Me."
The band has a history of bringing big cases, but the reason why this lawsuit filed in L.A. Superior Court commands notice comes down to the magical number of 1972.
February 15, 1972 is the exact moment in which sound recordings began falling under federal copyright protection. For recorded music created before then, the situation is a bit more murky. The question this lawsuit addresses is what laws cover those recordings?
Every day, SiriusXM transmits thousands of pre-1972 recordings and does so likely with the confidence that §114 of the Copyright Act gives them this authority. That statute carves out limitations on exclusive rights and also sets up the way that owners of recordings get compensated. Currently, the Copyright Royalty Board is the entity that sets statutory royalty rates for satellite radio, and SoundExchange is the entity that collects the royalties to pass along.
But it is the contention of Flo & Eddie, representing themselves and others similarly situated, that federal law can't be relied upon when dealing with pre-72 music on satellite radio. Here's the complaint filed on Thursday.
Among the cases that could support this theory is Goldstein v. California, a 1972 U.S. Supreme Case dealing with a piracy dispute that gave deference to state laws. The ruling held, "Until and unless Congress takes further action with respect to recordings fixed prior to February 15, 1972, the California statute may be enforced against acts of piracy such as those which occurred in the present case."
In the present action, the plaintiffs assert misappropriation under California law as well as unfair competition and conversion. Those claims were recently tested in favor of record label plaintiffs in a California case against BlueBeat, a website that attempted to use §114 for among other things, to sell 25 cent songs from The Beatles. A judge found BlueBeat liable for misappropriation of pre-72 recordings.
If there is another reason why Sirius might be concerned that state laws aren't preempted by federal statutes that confer them distribution rights, a case decided earlier this year by a New York appeals court might give the satellite giant some pause. There, appeals judges held that music streaming site Grooveshark couldn't take advantage of DMCA safe harbors – another federal law – to defend against charges of pirating pre-72 sound recordings. A different jurisdiction, and dealing with digital rather than satellite distribution, but in the wake of that ruling, many legal commentators warned that all hell could break loose when determining liability on older recordings.
Now, The Turtles are stepping up to give Sirius a major challenge.
This isn't the first legal fight for the band.
In 1971, they sued their record label, White Whale, for accounting irregularities, and wound up recovering rights to their original masters. Years later, they brought one of the first "sampling" lawsuits against De La Soul. They've also sued record pirates and brought claims against advertisers for using without authorization their voices in commercials. They are now being represented by Henry Gradstein and other attorneys at Gradstein & Marzano.
Besides hundreds of millions of dollars, the plaintiffs are demanding an injunction against the defendant distributing pre-72 recordings. The lawsuit could conceivably stop a lot of classic rock and jazz being played on SiriusXM.
We've reached out to Sirius and will update with any comment it has.
Drake ~ All Me feat. 2 Chainz & Big Sean
Drake ~ All Me feat. 2 Chainz & Big Sean
Once again, Drake hits us with another late night track presumably off his forthcoming album, Nothing Was The Same. “All Me” features 2 Chainz and Big Sean.
http://soundcloud.com/octobersveryown/drake-all-me-feat-2-chainz-big
Waka Flocka Flame’s Mom Deb Antney Sits Down With The Breakfast Club
Earlier today Waka FLocka Flame’s mother Deb Antney stopped by New York’s Power 105.1 and chopped it up with The Breakfast Club,
providing a look behind the scenes of some of rap’s most complicated
relationships.
Antney started off talking about her beginnings in
hip-hop, saying that her career in management started when she gave
birth to her first son back in 1981. Throughout the interview, she
opened up about her relationships with Nicki Minaj (“That’s the daughter
I never had”), French Montanna (“Frenchie needs media training”) and
her complicated history with Gucci Mane (“Everybody got issues”). Even
though Waka Flocka and Gucci Mane have been at odds with each other lately, Antey sounded hopeful about the future. “Anything can be fixed,” she said. “It’s just a matter if it stays in place.”
The Mizay entertainment CEO also discussed why she laughed when Waka
first played his music for her, her neglect of OJ da Juiceman and her
edgy relationship with New York. “This is my city,” she said. “I popped
off two of the biggest artists here in this city and this city turned on
me. This was the city I was trying to put back on and they turned on
me.” Listen to the whole interview above.
Should Sony Entertainment and Universal Music Leave Their Parent Companies?
Over the last several months, financial propositions have been made
to cleave Sony Entertainment and Universal Music Group -- the world's
two largest music companies – away from their parent companies. If
these proposals were ever to come to fruition, they would radically
change the face of the music industry as we know it and also present a
number of interesting possibilities.
David Loeb of Third Point, a hedge fund which has 6.9% invested in Sony Corp, in May first called on
the Japanese conglomerate to put its music and film holdings up for an
Initial Public Stock Offering which could possibly raise as much as $2
billion. Loeb argued
that the move would strengthen the company with the "transparency that
comes with public reporting, an active media analyst community
evaluating financial performance regularly and an expert board with
strongly aligned incentives.” Today (Aug. 1), news brokeposting
its first profitable quarter in two years due in part to a weaker Yen
-- down. The market, it seems, favors the idea of an independent Sony
Entertainment. that the Sony board plans not to spin-off its entertainment holdings, which sent shares of Sony down 3% -- despite
Two weeks ago, news broke that Japanese Telecom SoftBank (which recently merged with
Sprint) had made an $8.5 billion dollar offer to buy Universal Music
Group from Vivendi, a French conglomerate that, much like Sony, has had
its share of financial challenges. A report in the Financial Times
noted that Vivendi has been under pressure to restructure its holdings
as its stock shares had fallen 13 percent since early May. And much like
Sony, Vivendi has an activist investor in Vincent Bollore who is
similarly pressing Vivendi to dispose of its holdings, which include
Activision Blizzard and French TV group Canal Plus. Vivendi, again like
Sony, has insisted on keeping
its entertainment holdings and instead sold-off its 53% in Maroc
Telecom as it tries to focus more on its media and entertainment
holdings.
Both scenarios point to the desirability of music content creation
companies in 2013 and their intrinsic value. In a follow-up piece on
SoftBank’s $8.5 Billion proposal, Billboard’s Ed Christman concluded
that the “$8.5 billion pricing SoftBank offered, gave UMG about a 9X
multiple, which is a significant improvement over the 7.6 multiple that
Citigroup realized through the sale of EMI.” Meaning that the value of
record companies are increasing. And with Telecoms like AT&T,
Verizon and Sprint increasingly looking to buy music platforms to entice
consumers, major record companies may never have been a more desirable
asset.
Big Sean Recruits Nicki Minaj, Miguel, And Nas For ‘Hall Of Fame’
For his second go round, Big Sean is trying to convey one thing and
it’s all about representing who he is as an artist.
Also nabbing many
exclusive features for the project, the G.O.O.D Music rapper lets it be
known that along with giving the world a closer glimpse of himself, on
this album fans can be certain about expecting exclusive appearances.
Joining with Nicki Minaj, Miguel, Nas, Young Jeezy, Kid Cudi, Jhene
Aiko, and Juicy J, there’s no doubt that B.I.G Sean put his heart and
soul into this project. Succeeding 2011′s Finally Famous the
rapper presents fans with a combination of tracks all true to his
character, a niche he believes is certain to oscillate an even larger
audience.
On “M.I.L.F”, Sean enrolls Nicki Minaj and Juicy J. A record
reminiscent of “Dance (A$$)”, the trio recreates the fun vibe of the
tune solidifying another club banger. Linking with Miguel on a track
called “Ashley”, the MC spoons to an ex-girlfriend rapping, “And I
wouldn’t trade it for the world, world, world/ And I’m just so fucking
lucky you’re my girl, girl, girl/ And I wouldn’t trade it for anything,
no, no, not anything/ And you, can’t nobody do it like you.” Along
with the lovey-dovey cut, Seans put on for his hometown of Detroit
partnering with Jeezy and Doughboyz Cashout. Nas and Kid Cudi appear on
“First Chain”, where all three rappers reflect on the course of their
careers Big Sean spitting “I be stuntin’/ Stuntin’ like I got my
first chain… B.I.G. was the first one that had it/ Then I saw Nas’
chain, man, that was ‘Illmatic’/ Then, I saw Kanye’s hanging from his
gold necklace/ Then ‘Ye gave me mine, I’ll show you my work ethic”.
Ellen DeGeneres to host Oscars
Second time’s a charm for Ellen DeGeneres, who announced she’s returning to host the 2014 Oscars via her Twitter page Friday morning.
“It’s official: I’m hosting the #Oscars!” DeGeneres wrote.
“I’d like to thank @TheAcademy, my wife Portia and, oh dear, there goes
the orchestra.”
The Emmy-winning syndicated talk show host of “The Ellen DeGeneres Show” hosted the 79th annual ceremony in 2007.
Oscars producers Craig Zadan and Neil Meron trumpeted their longstanding ties to the popular comedian in a statement Friday.
“We are thrilled to have Ellen DeGeneres host the Oscars,” Meron and
Zadan said. “As a longtime friend, we had always hoped to find a project
for us to do together and nothing could be more exciting than teaming
up to do the Oscars. There are few stars today who have Ellen’s gift for
comedy, with her great warmth and humanity. She is beloved everywhere
and we expect the audience at the Dolby Theater, and in homes around the
globe, will be as excited by this news as we are.”
The announcement ended months of speculation about who would emcee
the broadcast for outstanding film achievements, which is seen in over
200 countries and is set to take place March 2.
Last year’s host, Seth MacFarlane,
creator of TV’s animated “Family Guy” series and the blockbuster 2012
comedy “Ted,” divided audiences with his edgy wit and biting sarcasm
through such musical skits such as his much-maligned ode to female movie
nudity “We Saw Your Boobs.”
While MacFarlane garnered in bigger ratings over the previous year,
with 40.3 million people tuning in to the broadcast (a 2% uptick),
DeGeneres’ selection for 2014 marks a return to a kinder, gentler Oscars
hosting style, more in line with the broad-based appeal of its 2011
host Billy Crystal.
On Friday, Meron tweeted: "welcome back to the oscar stage, ellen...we can't wait to start working with you!"
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