Friday, June 20, 2014

Chuck D is ready to change the face and sound of urban radio!!!

Chuck D

Urban radio needs a change and Chuck D is ready to spearhead the movement, the Public Enemy co-founder told Billboard in an interview last Sunday (June 8). 


"My goal by year's end is to change the face and sound of urban radio," he explained. "I've been in this s--- 30 years, too long to just sit and let it be. I'm not going to be the grim reaper. I don't want to be the grim reaper. But people have to stand up and we need some change, and it's time."

Hot 97's Summer Jam concert earlier in the month was "the last straw" Chuck D said, in reference to artists like Nicki Minaj, Wiz Khalifa, 50 Cent and others using the n-word during their performances. After the show, he accused the radio station of making a "sloppy fiasco" of hip hop.

"That s--- is over," he noted of using the racial slur. "If there was a festival and it was filled with anti-Semitic slurs ... or racial slurs at anyone but Black people, what do you think would happen? Why does there have to be such a double standard?" 

He also said that the New York radio station should've had a more diverse roster of local artists on the Summer Jam bill, and that there needs to be a "greater representation of the culture and community" on Hot 97.  

However, he doesn't blame the station's on-air personalities like Ebro Darden. He and Darden went back and forth on Twitter after Summer Jam, but Chuck D's issue is not with the faces of the station, it's with their bosses. "That's where the discussion needs to go," he said, adding that he would never have an actual sit-down with radio bigwigs. "I don't have time for that. I don't have to show 'em s---; they're grown people. I ain't wasting my time." 

What he will do is observe the situation "from afar" and continue to speak out to evoke some form of change. If he doesn't see an improvement, he is fully prepared to "destroy the platform of urban radio."

Keyshia Cole’s Done W/ Boobie


Keyshia Cole is officially pulling the plug on her marriage to ex-NBA player Daniel “Boobie” Gibson — 3 months after revealing they had split.

Sources close to the singer tell TMZ she’s already drawn up divorce papers and we’re told she plans to file them any day now. The couple has a 4-year-old son.
Keyshia and Boobie had 2 wedding ceremonies … the first in May 2011, and then a bigger — aka expensive — one four months later in Hawaii. One divorce will get the job done though.
Interestingly, Cole just released a new single called “She” which seems to allude to a female lover: “Down to try something different/Lips and legs/Soft skin so feminine/Curves like me/Covered in my cherry scent.”
Maybe unrelated. Possibly just art. Definitely hot. (TMZ)

Did anyone see this one coming? She is not the same superstar she was back in 2006-2007, but is this just a sign of her getting her life in order or a sign that it’s all crumbling

Michael Jackson 'Hologram' Show Triggers New Lawsuit

It's now been a month since a Michael Jackson recreation at the Billboard Music Awards earned heavy buzz. In the days leading up to the spectacle, Hologram USA, owned by firebrand entrepreneur Alki David, attempted to stop it by claiming it infringed patented hologram technology that he had exclusively licensed. The Billboard Awards performance was allowed to happen, but the dispute is hardly over.


A hologram of Michael Jackson at the 2014 Billboard Music AwardsThursday, a new $10 million lawsuit was filed by Pulse Evolution, whose animators and technicians spent many months preparing the Billboard Awards show. In a complaint filed in U.S. District Court in Los Angeles, Pulse is attacking David as a "charlatan who had no involvement whatsoever in the development of the Michael Jackson animation."


The move follows David's own lawsuit, which originally named Prometheus Global Media, parent of Billboard Music Awards producer Dick Clark Productions (PGM also is THR's owner), among the defendants. But now the case has been amended mostly to focus on Pulse and its chairman John Textor. The executors of the Michael Jackson estate are among the other defendants.

Warns of Takedowns!!!

Both sides present their own tale of what has happened.

According to Pulse's complaint, David "falsely claimed credit for creating and developing the visual effects spectacle in a nationally-televised interview on CNN, in press releases and on his various websites operated by his company, FilmOn."

The lawsuit paints David as being famous for his outrageous antics and being a "notorious infringer of intellectual property rights," specifically referring to his well-publicized battles with TV broadcasters. The plaintiff is upset with David's alleged efforts to "divert public and industry attention away from Pulse Entertainment just as the company was being launched," asserting that it rises to unfair business competition practices and trade libel.



What's more, Pulse says that in the days leading up to the Billboard Music Awards, David attempted a "shakedown" by demanding credit — all on the basis of patent licensing from "a defunct company with no assets that had nothing to license in the first place."

That "defunct" company is Musion Das Hologram Limited, said by David to be connected to Europeans named Giovanni Palma and Uwe Maas. Where things get confusing is that Pulse has been dong with business with a company called Musion Systems Limited, apparently connected to two more Europeans named Ian O'Connell and William James Rock.


How hologram-like technology was created, who owns proper rights and what exactly is going on with these Musion companies is something that will have to be addressed in this case or elsewhere soon.


For now, what's important is that David's company claims a hold on technology said to be a new version of a 19th century stage trick called "Pepper's Ghost," involving the projection of two-dimensional images into a three-dimensional stage set. According to Hologram USA, the technology was famously used to create the late Tupac Shakur performing at the 2012 Coachella Music Festival.


David says he outbid Textor's Digital Domain unit to acquire rights to the technology last February, and that Textor's Pulse "elected to ignore the rights they previously sought to obtain" in the creation of a posthumous performance by Michael Jackson.


David's amended complaint (read it here) goes onto assert that it "rejected a proposal made by Textor and Pulse for a joint marketing agreement over the technology in April and May 2014 – days before Textor and Pulse used that technology without authorization to create the Jackson hologram."

Back to Pulse's new lawsuit: The fact that David insists upon calling it a "hologram" in media interviews is noted. According to its complaint (read it here), "This mischaracterization of the [Michael Jackson] animation as a hologram highlights David's complete lack of technical expertise and involvement in the creation and development of the Michael Jackson Animation, insofar as the virtual Michael Jackson appearing at the Billboard Award Show was not a hologram at all, rather, it was an animation projected onto a screen. This distinction is lost on David, because he is nothing more than a fraud claiming credit for Pulse Entertainment's animation."

Is the distinction important?

David's lawsuit points to a USA Today story (with comments given by Textor and Pulse CEO Frank Patterson) that says Pulse refined the magician's technique called Pepper's Ghost, and that the technology was used to recreate Tupac.

Warns of Takedowns!!!

"After Plaintiffs moved for a temporary restraining order in these court proceedings to enjoin Defendants from using the Patented Technology to create the Jackson hologram at the Billboard Music Awards, Defendants argued to this Court that they would not use the patented technology to create the Michael Jackson hologram," states David's amended complaint. "That argument is belied by the actual evidence. Initially, Textor attempted to obtain rights to the Patented Technology in the months and days leading up to the Billboard Awards because he knew those rights were required."

David's company, represented by lawyers Craig Newby and Ryan Baker, says that his legal adversaries "have created significant confusion in the marketplace" and "diluted the value of the Hologram USA brand," getting in the way of its discussions to do recreations of Elvis Presley and Bob Marley.

Pulse, represented by Marty Singer and Todd Eagan, responds that David has hijacked the launch of the company and has similarly caused "immeasurable harm" to its "public relations, its reputation and brand."
Bottom line: The business of dead stars has a very live fight.

  • This article originally appeared in THR.com.

SoundExchange Pays Out Record-Setting $162M in Q1

SoundExchange, the independent performance rights organization that collects and distributes digital performance royalties, today announced its Q1 numbers.  In the fiscal first quarter the nonprofit paid $162.4 million to recording artists and labels, its largest Q1 payment to date and a 38% increase over the $117 million paid out last year.

The report also noted that in 2013, SoundExchange payments made up 8.4% of all U.S. recorded revenue which totaled some $7 billion dollars last year. 21% of that $7 billion was generated from streaming revenues of which SoundExchange paid out 41.3%. 

Warns of Takedowns!!! 
SoundExchange has now paid out some $2 billion dollars since its inception ten years ago growing from $3 million in 2003 to $36 million in 2007 to nearly $100 million in 2008 and nearly $600 million in 2013.
Last quarter, in which SoundExchange celebrated its 10th anniversary, the PRO paid out a record $170.4 million in the fourth quarter of 2013, with an all-time yearly total of $590.4 million, a 28% increase over 2012.  


The service collects statutory digital performance royalties from such services as Pandora, SiriusXM and Music Choice, and distributes them to labels and performers. It now counts 2,500 digital radio providers that use the statutory license it administers. After SoundExchange takes its administrative fee -- 4.9% in 2012 -- 50% of the royalties go to owners of the sound recordings, 45% is paid directly to the performing artist, and 5% goes to non-featured performing artists through a fund administered by AFM and SAG-AFTRA.

EXCLUSIVE//Justin Timberlake's Spring Run Tops Tours with $77.3 Million

By



Justin Timberlake performs at Stade de France
April 26: Justin Timberlake performs at Stade de France in Paris.
David Wolff - Patrick/Getty Images

Justin Timberlake’s 20/20 Experience world tour heads up the weekly ranking of Hot Tours, with sales reported from its European leg that kicked off at the end of March and ran through June 10. Ticket sales totaled $77.3 million from the trek that hit 23 cities in 14 countries on the continent, along with a handful of dates in Middle Eastern markets. 


Touring in support of his most recent studio albums released last year, "The 20/20 Experience" and "The 20/20 Experience - 2 of 2," Timberlake launched the world tour in New York City on November 6, playing 38 cities in the U.S. and Canada during a four-month stretch. 

The subsequent European leg began in the U.K. on March 30 and included two-show engagements at arenas in seven cities as well as London’s O2 Arena, which hosted the tour for three nights. Six stadiums were also on the schedule, including the Stade de France in Paris, which drew the largest crowd. 57,286 fans filled the national stadium of France on April 26 for a single performance, the highest attendance reported at one venue during both legs of the tour. Overall box office counts since launch place the pop superstar among the top-grossing touring artists of the year with $148 million in ticket sales from 1.3 million fans at 78 performances.  

 
Ranked second among the 10 top-grossing touring artists of the week, One Direction adds $42.6 million to the Where We Are tour’s overall box office gross that is nearing the $100 million mark. This week’s tally includes revenue from sold-out shows at four U.K. stadiums, as reported by concert promoter SJM Concerts in Manchester. With 5 Seconds of Summer on the bill as opening act, the tour included performances on June 6, 7 and 8 at London’s Wembley Stadium, one of three venues to host the tour for three shows. The London run grossed $20 million (£11.9 million) with an attendance count logged at 236,566, the highest draw from a single venue since the world tour began in April. Also included in this report is Manchester’s Etihad Stadium that hosted the pop stars for three nights. The May 30-31, June 1 engagement produced a sold ticket count of 158,579 and $12.9 million in sales. Box office stats from Croke Park in Dublin, the other venue with a three-show run, were reported in a previous week. 1D remains on the road in Europe through July 13 and will kick off a North American run at the beginning of August.

George Strait is third on the slate of Hot Tours, with reported sales from his record-breaking tour finale on June 7 at AT&T Stadium in Arlington, Texas. With $18.1 million in sales from a sold-out crowd of 104,793 at the home stadium of the NFL’s Dallas Cowboys, the country music legend smashed multiple attendance records with his final tour performance. 



The concert set a new record for single-show attendance at a U.S. stadium, as well as any indoor venue worldwide. The event also established Strait as country music’s most successful artist ever, based on single-show gross and attendance counts. The three top-grossing performances from the farewell tour -- Dallas, Houston and San Antonio -- top the all-time list of single performances among country artists according to Billboard’s Boxscore archives.

As well, the first sales figures have been reported from the world tour in support of Lady Gaga’s 2013 album "ARTPOP." With box office grosses topping $13.9 million from the first 14 performances, the pop star locks down the No. 4 slot on Hot Tours with more than 171,000 tickets sold. The arena tour, dubbed artRAVE: The ARTPOP Ball, launched on May 4 at BB&T Center in the Ft. Lauderdale market, the first date of a North American leg that will play 36 cities through August 9. Dates in Asia, Australia, the Middle East and Europe are on the books through late November.

Also included in this week’s tally is Lady Gaga’s seven-show run at the Roseland Ballroom in New York City earlier this year. The event grossed $1.5 million from 24,532 sold tickets at shows on March 28, 30, 31 and April 2, 4, 6 and 7 to mark the closing of the historic Manhattan entertainment venue.

TOP STORY//Beyonce Lands HBO Series of Mrs. Carter World Tour Concert Segments

By , The Hollywood Reporter


Beyonce Lands HBO Series of Mrs. Carter World Tour Concert Segments

Beyonce performs on stage during "The Mrs. Carter Show World Tour" at the Barclays Center on December 22, 2013 in Brooklyn, NY.


Beyoncé is heading back to HBO.
Following her 2013 documentary "Life Is But a Dream," Beyoncé will return to the premium network for a series of four-minute concert segments from her Mrs. Carter World Tour called "Beyoncé: X10."

The 10 installments will air every Sunday evening at 8:55 p.m. ET/PT ahead of the seventh and final season of "True Blood," which begins at 9 p.m. ET/PT on June 22.



Taped performances of "Blow/Cherry," "Drunk in Love," "Ghost/Haunted," "Flawless/Yonce," "Get Me Bodied/Baby Boy/Diva," "Girls," "Heaven," "Partition," "Why Don't You Love Me?" and "XO" will air as part of the series.

The performances were shot in various cities around the world from Beyoncé's Mrs. Carter World Tour. The tour began in April 2013 in Belgrade, Serbia and ended in March 2014 in Lisbon, Portugal. It was the highest-grossing female solo tour in 2013.

"Life Is But a Dream," which aired on HBO in February 2013 and was directed by Beyoncé, gave an inside look at the singer's life.

INSIDE SCOPE//Delroy Lindo Joins 'Point Break'

Delroy Lindo - P 2014
Courtesy of APA Delroy Lindo

Edgar Ramirez and Luke Bracey are starring in Alcon Entertainment's film.


Delroy Lindo has joined Point Break, Alcon Entertainment's reboot of the 1991 film.


Edgar Ramirez and Luke Bracey are starring in the remake, about a young FBI agent named Utah (Bracey) who goes undercover to stop an organized gang of criminals who are pulling off heists all over the world.
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Lindo will play Utah's instructor who tries to motivate him to pass training.

Invincible director Ericson Core is helming the reboot from a script by Kurt Wimmer.

Alcon secured rights to Point Break from RGM Media, John McMurrick and Chris Taylor. Andrew Kosove and Broderick Johnson will produce along with John Baldecchi, Taylor and Wimmer. RGM Media principal Devesh Chetty and investor Marloss Entertainment chairman McMurrick will serve as executive producers. Principal photography is slated to being June 26 in Germany, Austria, Italy, Mexico, Venezuela, French Polynesia and India.


The original film, starring Patrick Swayze and Keanu Reeves and directed by Kathryn Bigelow, earned $83.5 million worldwide in 1991 and went on to become a cult classic.

Lindo recently wrapped shooting on Cymbeline, starring Ed Harris and Ethan Hawke. Most recently starring on NBC's series Believe, Lindo's film credits include The Cider House Rules, Clockers, Crooklyn, Malcolm X, Wondrous Oblivion, Get Shorty, Devil’s Advocate and Romeo Must Die. His other TV credits include Fox's The Chicago Code. He's repped by APA.