An appeals court has ruled that George Clinton must face a trial to determine whether a portion of the Parliament-Funkadelic catalog is co-owned by the heirs of late keyboardist Bernie Worrell.
In September, a federal judge in Detroit threw out the lawsuit brought by Worrell’s widow after determining that the statute of limitations had long expired. But the Sixth Circuit Court of Appeals reversed that dismissal on Wednesday (May 27), holding that it’s up to a jury to decide whether the claims are timely or not.
“The estate has successfully pointed to facts potentially rendering this the rare case in which a copyright-ownership claim may be brought a half-century after-the-fact,” wrote a panel of three appellate judges in the ruling, obtained by Billboard.
The dispute stems from a 1976 contract between Worrell and Clinton, in which the keyboardist released his ownership stake in the P-Funk masters in exchange for recorded royalties. This led to numerous court battles over the years about how to properly split these royalties, both during Worrell’s life and after his death from lung cancer in 2016.
The pivotal moment came in one such lawsuit in 2020, when Clinton’s attorneys claimed for the first time that the 1976 deal was null and void because Clinton never signed it. This led the Worrell estate to try a new tack and file the current lawsuit, which alleges that Worrell never stopped owning his share of the masters in the first place.
According to the Sixth Circuit, it remains unclear whether the statute of limitations for these claims expired decades ago or only began running in 2020. However, the judges said a trial is only appropriate on the songs expressly covered in that contract — those created between 1976 and 1979 — and not the entire catalog from Worrell’s time in P-Funk between 1969 and 1981.
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Clinton’s lawyers had separately argued that the case should be thrown out because there’s insufficient evidence of Worrell co-creating these P-Funk songs. The Sixth Circuit rejected this too on Wednesday, saying there’s clearly enough fodder for a jury to decide otherwise.
“To start, we need look no further than Clinton’s own admissions. He recognized in this litigation that Worrell ‘radically charted the course of emerging keyboard technology during the golden age of analog synthesis,’ and that he brought to the table a ‘sonic stew’ including ‘perfect pitch and a well-honed facility with a classical canon,’” wrote the panel. “These statements contradict any suggestion that Worrell was just a session player or hired hand.”
The case will now head back down to the federal district court to prepare for a trial, unless a settlement is reached. The Worrell estate’s lead lawyer, Richard Busch, said in a statement that the Sixth Circuit’s ruling “is a great step in the right direction.”
“Bernie Worrell was the heart and soul of Parliament-Funkadelic but had to spend years of his life chasing Mr. Clinton for what he believed Mr. Clinton owed him,” added Busch, who argued the appeal. “While he is no longer with us, Bernie’s loving wife Judie continues to fight for Bernie’s rights.”
Clinton’s attorney, Jim Allen, said in his own statement, “We respectfully disagree with the Sixth Circuit’s decision and believe it requires some unusually large leaps in logic, metaphysics and precedent to transform a disputed, judicially-invalidated 1976 agreement into a springboard for copyright claims fifty years later.”
Allen emphasized, however, that the ruling “is extraordinarily narrow” and allows for a trial on only “a tiny fraction of the decades-long body of work George Clinton created and led.”
“We also look forward to finally litigating this case in a courtroom rather than through the fog of mythology, revisionist history and shadow-boxing conducted by interests that have been hovering around the P-Funk business empire for decades without ever quite wanting to step fully into the light,” added Allen. “The Mothership keeps flying. Trial is next. We will prevail.”
Clinton is separately suing Universal Music Group (UMG) for freezing his royalties amid the Worrell litigation. That case remains pending.
Taylor Swift’s longtime lawyer argued in court on Wednesday (May 27) that the First Amendment protects The Life of a Showgirl from trademark claims.
Douglas Baldridge appeared in Los Angeles federal court to oppose Las Vegas performer Maren Wade’s injunction bid. Wade, who puts on a cabaret show called “Confessions of a Showgirl,” alleges Swift’s latest No. 1 album infringes her intellectual property and wants to block The Life of a Showgirl merch sales until the litigation is fully resolved.
Judge Serena R. Murillo opened up the hearing by suggesting that her “real concern” in this case is whether The Life of a Showgirl should be shielded from trademark litigation because the album is a piece of art — that is, a so-called expressive work under First Amendment case law. Wade’s attorney, Jaymie Parkkinen, argued on Wednesday that the answer is no because Swift uses the album title not just for music, but also for a massive “branding campaign.”
Baldridge, who has represented Swift for years as both outside counsel at the firm Venable and in-house during her record-breaking Eras Tour, countered that The Life of a Showgirl is a “classic expressive work.” He cited Lady Gaga’s recent court victory in a similar trademark lawsuit over her Mayhem album on artistic expression grounds.
“That’s why the First Amendment applies here, and that’s why they can’t get a preliminary injunction, much less win the case,” Baldridge said.
Wade, born Maren Flagg, has owned the trademark “Confessions of a Showgirl” since 2015 for her touring cabaret show about the escapades of a modern-day Las Vegas performer. Swift’s company TAS Rights Management sought to trademark the phrase “The Life of a Showgirl” upon the album’s announcement in August, but the U.S. Patent and Trademark Office (USPTO) preliminarily denied the application due to a likelihood of confusion with Wade’s existing mark. The trademark request remains pending.
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The Life of a Showgirl debuted atop the Billboard 200 in October with a record 4 million units in its first week, and the album went on to reign atop the chart for 12 weeks. Then came the lawsuit: Wade sued Swift in March, claiming the new era “threatened to swallow” her much smaller business.
During Wednesday’s hearing, Parkkinen argued that Wade’s trademark is “being absorbed in real-time.” He said an injunction would make a huge difference for Wade, while any resulting lost profits for Swift or her label partners at Universal Music Group would be nothing more than a “rounding error.”
Meanwhile, Swift’s attorneys have asserted in response to the lawsuit that there are significant differences between “Confessions of a Showgirl” and The Life of a Showgirl. Pointedly, they noted in a May court filing that while Swift plays sold-out stadiums, Wade “performs, if at all, in small intimate venues, such as a 55+ active community.”
Swift’s camp has also criticized Wade for intentionally associating herself with Swift’s brand on Instagram and TikTok, citing more than 40 posts that featured hashtags like #thelifeofashowgirl, #TS12, #taylorswift and #swifties. On Wednesday, Baldridge pointed to one post in which Wade said she was in her “showgirl era.”
“I don’t know if your honor follows Ms. Swift, but ‘era’ is a pretty big word for us,” said Baldridge.
Judge Murillo did not announce any ruling on the injunction motion during the hearing, saying a written decision would come down “shortly.” Swift’s team has also requested separately to dismiss the lawsuit outright, and that motion remains pending.
Spotify is expanding into a new arena: long-form magazine articles.
On Tuesday (May 26), the streaming service announced it will now host narrated audio articles from outlets including Rolling Stone, The Atlantic, Vogue, Variety, Billboard, Vibe, GQ, WIRED, Vanity Fair and Pitchfork. At launch, the platform is offering more than 650 long-form articles, which are now available in English to users who reside in markets where audiobooks are available. Each narrated article, included in Premium users’ monthly audiobooks allowance, is under two hours long. Free users can buy individual articles for $1.99 each.
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“As we have seen with bringing audiences over from podcasts, Articles will allow people to trial shorter, less intimidating listens, opening the gateway to explore longer-form listening like books,” Spotify noted in a blog post about the launch.
“With Articles, we’re introducing long-form journalism in audio as a natural extension of the music, podcasts, and audiobooks people already come to Spotify for, focused on topics we know they love,” said Colleen Prendergast, licensing lead at Spotify Audiobooks, in a statement. “By bringing shorter form content into the mix, we’re meeting audiences where they are to help build healthy listening habits, ultimately growing engagement with books over time.”
“We’re thrilled to partner with Spotify in what we see as a natural synergy between two platforms that celebrate music and culture,” added Julian Holguin, CEO at Rolling Stone. “This collaboration with Articles allows us to deepen the connection between our readers and the artists, stories, and features they care about, while also providing an opportunity for discovery. By making Rolling Stone’s journalism more accessible on Spotify, we’re excited to bring our storytelling to an even wider audience.”
According to the blog post, Spotify has expanded audiobooks into 22 markets since launching just over two years ago and has grown listening hours 60% year over year.
There are a handful of pending bills before the 119th Congress that are being closely watched by the music industry. These pieces of federal legislation could affect artists, consumers and companies across many different areas of the business, including songwriting, licensing, tourism, royalties, ticketing and live performances.
Many of these bills have bipartisan support from both Democrats and Republicans in Congress, and industry players have been heavily involved in advocating for their passage: The Recording Academy and Recording Industry Association of America (RIAA) have signed onto many of them, as have corporate giants like the major record labels and Live Nation.
The legislative process is long and at times difficult to decipher. Many bills get introduced more than once over the years, often with different versions in the Senate and House of Representatives. There are committee reviews, hearings and revisions before a bill makes it to the floor for a congressional vote and, eventually if passed, the desk of the president to be signed into law.
In the interest of compiling all the information in one place, Billboard has put together a list of all the music-related legislation currently before the 119th Congress. Below, you can read about the history behind each bill, who supports it and what impact it would have on the industry.
We’re keeping track of developments for each piece of proposed legislation, and this list will update as bills move through the House and Senate. We’ll also add new bills as they’re introduced and tell you why they matter for the music business.
The Beaches are having another viral moment.
In Episode 2 of Prime Video’s Off Campus — a series based on the book series by Toronto author Elle Kennedy — the group’s 2023 hit “Edge of the Earth” soundtracks a key moment.
The show chronicles the love story between Hannah Wells (Ella Bright) and the university hockey player Garrett Graham (Belmont Cameli). It’s another hockey romance hit, quickly hitting No. 1 globally on Prime Video after its May 13 release.
The Beaches’ 2025 Coachella set plays a pivotal role on the show, connecting the two main characters. It’s more than a passive sync, with the band’s name being by the characters.
Hannah asks, “Have you heard of the Beaches?” Channeling Garden State, she gushes that “their Coachella set will change your life,” before playing through the band’s performance of “Edge of the Earth.”
in one week, “Edge of the Earth” has reached new heights of its own, becoming The Beaches’ most popular song on streaming platforms. There’s an 888% increase in week-over-week growth in streams since the show’s premiere, The Beaches’ management shares with Billboard Canada. That’s over two times more than the previous peak set by “Blame Brett” during its viral moment on TikTok in 2024.
The group’s entire discography is surging, experiencing a 48% week-over-week growth on streaming platforms, confirming the “Edge of the Earth” moment is driving broader catalogue discovery — not just one song.
“We are incredibly grateful to be included in the world of Off Campus,” the group tells Billboard Canada. “This song has such a special place in our hearts, and it’s humbling to see how it’s resonated with the rest of the world.”
For the band’s manager, Laurie Lee Boutet, it’s the result of many years of effort and hard work.
“It’s been a wild week. ‘Edge of the Earth’ [has] been around since 2023, and Off Campus put it in front of millions overnight,” she shares with Billboard Canada. “A week in, and it’s the biggest streaming moment of their career. These four have been doing the work for over a decade; they’ve earned this. We’re just trying to keep up.”
The group’s recent success coincides with their major win at this year’s Billboard Women in Music ceremony in Los Angeles. After first being named the Women of the Year at Billboard Canada Women in Music in 2025, the band repped Canada while accepting the Global Force Award, presented by FACTOR.
“To be representing Canada on a global stage like this is not only an honour, but a dream come true,” frontwoman Jordan Miller said in the group’s acceptance speech.
While Off Campus is set in a fictional Massachusetts town, it was shot at the University of British Columbia in Vancouver — so it’s fitting that a Canadian group is reaping the rewards.
Read more here. — Heather Taylor-Singh
ArtsHouse Media Group Launches New Toronto Live Venue, SOUNDSTAGE
A state-of-the-art new home for events and performances has arrived in Toronto.
ArtsHouse Media Group (AMG) has unveiled the all-new SOUNDSTAGE venue. Located on the sixth floor of the W Toronto hotel near Yorkville, the new performance and music venue will bring concerts, entertainment, culture and industry events all under the same roof.
The new venue was officially unveiled this week (May 19) with a special ribbon cutting by Toronto Mayor Olivia Chow, AMG president Mo Ghoneim and CCO Elizabeth Crisante, W Toronto general manager Elie Sassine, NXNE founder Michael Hollett and members of the AMG and Billboard Canada team.
“SOUNDSTAGE was built to be more than a venue. We wanted to create a home for artists, culture, and live experiences that brings together music and media in a meaningful way,” says Mo Ghoneim, president of AMG. “As one of the country’s leading music media companies, we felt a commitment to creating a space that not only elevates performance, but helps artists and culture connect with audiences on a larger scale.”
The new hub for music, media and culture will host several major events in June including a number of Billboard Canada LIVE events during NXNE, including Q&A and performances by Frank Walker and Sickick. It will also host Billboard Canada x Music Manager Forum Canada’s Managers to Watch x Honour Roll 2026 celebration, which will honour the most impressive music managers making moves in Canada.
“W Toronto has always been committed to creating luxury spaces where culture, creativity and community come together,” says Elie Sassine, general manager of W Toronto. “SOUNDSTAGE is an exciting evolution of that vision, bringing a fresh energy to Toronto’s cultural and event landscape. By blending music, technology and hospitality, the venue creates a unique platform for artists, brands and industry leaders to connect in a way that feels distinctly Toronto.”
Read more here. — Billboard Canada
Acclaimed Cellist & Composer Cris Derksen Mourned by Canadian Musicians and Industry
Cris Derksen, a renowned Indigenous cellist and composer, died in a car accident on May 15, at age 45. They were returning from their father’s funeral near Slave Lake, Alberta.
An obituary in the Edmonton Journal reports that “Derksen was a beloved fixture on Canada’s classical and stringed music scene. Their style sometimes fused modern electronic sounds and Indigenous rhythms.”
As a soloist-composer, Derksen performed with 15 different symphonies and chamber orchestras across Canada. They have been commissioned by prestigious ensembles such as the Calgary Philharmonic Orchestra, the Toronto Symphony Orchestra, the Thunder Bay Symphony and Orchestre Métropolitain.
In 2022, Derksen was the composer for the Canadian Pavilion at the World Expo in Dubai, as well as in 2025 the World Expo in Osaka. Work on the podcast Stolen: Surviving St. Michael’s by Connie Walker and Gimlet Media earned both a Pulitzer Prize and a Peabody Award. In 2024 Derksen had their Carnegie Hall Debut performing with Orchestre Metropolitan and Yannick Nézet-Séguin with their piece Controlled Burn commissioned by Nézet-Séguin.
Derksen has worked with the Royal Winnipeg Ballet and in 2026 wrote a 75 minute ballet Cikilaxwm: Controlled Burn for Ballet Kelowna with Indigenous choreographer Cameron Fraser-Monroe.
Derksen was also a dedicated advocate for diversity in classical music. They founded the Indigenous Classical Gathering at the Banff Centre for the Arts, served as the Artistic Advisor for the Calgary Philharmonic Orchestra and chaired the Equity Committee for Orchestras Canada. Through these roles, they strived to make classical music more reflective of Canada’s diverse population, opening doors for BIPOC composers and performers.
Derksen released four acclaimed albums: The Cusp (2010), The Collapse (2013), Orchestral Powwow Project (2015) and The Visit (2025)
They also performed as the Cris Derksen Trio with drummer Jesse Baird and dancer Nimkii Osawamick, and her composition Maada’ookii Songlines was a choral piece incorporating 200 singers.
Over their career, Derksen received multiple awards nominations, including the Indigenous Music Awards, Juno Awards for instrumental album of the year, (for Orchestral Powwow Project), the Aboriginal Peoples Choice Music Awards, the Canadian Aboriginal Music Awards and Western Canadian Music Awards.
A performance by Derksen was scheduled for Sled Island festival in Calgary in June.
As news of Derksen’s tragic passing spread, there was an outpouring of tributes from musical colleagues and noted industry members including Tanya Tagaq, the Canadian Music Centre and more.
Read more here. — Kerry Doole
Universal Music Group (UMG) and TikTok have announced a new multi-year licensing deal. News of the agreement comes two years after UMG and TikTok resolved their infamous licensing standoff, which led UMG to pull its entire catalog of master recordings and compositions from the service for the first three months of 2024.
TikTok notes in a press release that the new deal will provide UMG artists with “expanded marketing and advertising campaigns, as well as access to ecommerce and other artist-centric tools.”
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The release also notes that the new agreement “build[s] on the success of the multi-dimensional partnership announced in 2024” and extends TikTok and UMG’s “groundbreaking commitment to AI protections that promote human artistry.” It adds that “TikTok and UMG will work together to remove unauthorized AI-generated music from the platform, while further improving artist and songwriter attribution.”
In January, UMG chief digital officer and executive vp Michael Nash was a guest on Billboard’s On the Record podcast, when he revealed new details about what happened between UMG and TikTok in 2024 that led the music company to pull its catalog from the social media service in retaliation. “There was a proposal [from TikTok] that the service would use AI music in a way that went far outside of what we thought really made sense for us to support in the interest of our artists,” Nash said at the time. “And specifically, what they were proposing is that creators would be able to generate AI content, and that AI content on the TikTok platform would get paid on the same basis as artists’ [music]. It would dilute the artists’ royalty pool.”
When the two companies finally resolved their dispute, Nash explained that, ultimately, “we got the best protections that we had been able to obtain to that point, and they remain some of the best protections that we have in any agreement with the music service, in terms of AI protection and what we call ‘anti-dilution,’ meaning our royalties won’t be diluted by pure AI content.”
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Typically, licensing agreements between music companies and tech platforms last for about two to three years, so license renewals between TikTok and other music companies are expected in the near future.
In a statement about the new deal, Nash said: “We’re proud of the pioneering work we’ve done with TikTok to create wide-ranging benefits for our artists and songwriters. With this new agreement, we look forward to driving innovative new fan experiences, while further improving social media monetization, and protecting and amplifying human artistry.”
Tracy Gardner, global head of music business development at TikTok, added: “We’re excited to take our partnership with UMG to the next level, and build on the strong foundation we’ve already created together for artists, songwriters and fans. TikTok is a unique platform where music discovery, culture and fandom intersect, and this agreement will help create even more opportunities for artists and songwriters to engage audiences, grow their communities and achieve career success on a global scale.”
Primary Wave Music acquired Aubrey “Po” Powell‘s interests in the entire catalog of artwork owned by Hipgnosis, the British design studio Powell founded in 1967. The catalog includes artwork created for artists including Bad Company, Styx, Black Sabbath, Queen, Def Leppard, Foreigner, Yes, AC/DC and Genesis. It also includes related objects used to create those artworks, including the original biplanes used in the music video for Pink Floyd’s “Point Me to the Sky” and one of the original “The Object” sculptures used for the cover art of Led Zeppelin’s album Presence.
Under the deal, Primary Wave will collaborate with Powell to mount global exhibitions of the Hipgnosis catalog, including pieces that have never been seen by the public.
Of the partnership, Primary Wave’s deputy COO Lexi Todd said, “We’re beyond excited to partner with Po on one of the most influential visual catalogs in music history. This artwork did more than just accompany records; it shaped how generations of audiences experienced the music itself. Primary Wave looks forward to honoring that deep connection between sound and image by ensuring these iconic works continue to inspire music fans around the world.”
Powell added, “When Primary Wave showed an interest in the legacy of Hipgnosis imagery it was music to my ears. For too long I had been approached to sell off bits and pieces of my collection which did not interest me, and I yearned for a company who understood the importance of the work in its entirety and the recognition as a serious art form. I was at an impasse having reached a respectable grade of exhibitions, but without the backup, the connections and the teamwork required to move on up I could expand no further. Primary Wave has offered that support and collaboration – we are in sync and I am looking forward to seeing Hipgnosis grow on the global stage. Exciting times ahead.”
Warner Music Korea signed a global partnership with FeelGHood Music, an indie label and management company founded by Korean hip-hop artists Tiger JK and Yoon Mira, to represent Korean artist BIBI. The announcement of the deal aligns with the release of BIBI’s latest song, “BUMPA,” described as “a vibrant fusion of global pop, Latin, and Caribbean rhythms.”
According to a press release, BIBI’s 2024 song “Bam Yang Gang” topped charts in Korea and secured her awards including honors at the MAMA Awards and Melon Music Awards. Last year, she embarked on a world tour behind her sophomore album, EVE: ROMANCE.
Jieun Kim, president of Warner Music Korea, said in a statement: “BIBI is set to becoming one of the defining artists of her generation due to her unique creative identity and bold sensibilities. The partnership is a strategic alliance to amplify her unique creative identity. Warner Music is committed to providing the global infrastructure and creative support necessary for her to shine on the world’s biggest stages.”
“We’re excited to begin this new partnership with Warner Music,” said Tiger JK, CEO of FeelGHood Music. “From early on, we felt strongly aligned with Oscar’s vision for building globally impactful artists out of Asia, while preserving their individuality and creative identity. As BIBI continues to grow worldwide, it feels meaningful to partner with a team that truly understands both her artistry and her potential. We’re already inspired by the music and ideas we’ve begun creating together.”
Read about more recent music industry deals below.
Live Nation must be broken up from Ticketmaster, state attorneys general told a federal judge Thursday (May 21), a month after a blockbuster jury verdict that the music giant is an illegal monopoly.
Laying out their proposed punishment after that verdict, a coalition of dozens of states argue in a hotly-anticipated legal brief, obtained by Billboard, that the only way to fix the live music business is to force Live Nation to sell Ticketmaster.
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“An order requiring Live Nation to divest Ticketmaster, such that it is capable of restoring competition for primary ticketing contracts with Major Concert Venues,” the states wrote in a list of orders they’re seeking from the judge.
The Department of Justice and dozens of states sued Live Nation in 2024, claiming the company (which acquired Ticketmaster in 2010) had grown into a monopoly that dominates live music: “It is time to break it up,” said then-attorney general Merrick Garland.
A week after the case went to trial in March, the DOJ agreed to a surprise settlement that did not require such a breakup. But dozens of states said that deal was insufficient, and instead pushed ahead with the trial, with the goal of splitting Ticketmaster from Live Nation.
On April 15, jurors handed Live Nation a total defeat — finding that the company had illegally monopolized the market for ticketing services and the use of amphitheaters, and that it had illegally tied the use of its venues to its concert promotion services.
Now, a month later, the states have made it official. In the terminology of antitrust law, they’re asking the judge to impose “structural remedies” that require Live Nation’s “divestiture” of Ticketmaster. “Plaintiffs are evaluating the scope of assets, contracts, personnel, and systems that would be necessary for a standalone Ticketmaster to effectively compete in the market for primary ticketing services,” the states wrote in seeking that order.
That’s not all the states want. They also asked the judge to force Live Nation to divest “a sufficient number” of large amphitheaters, as well as put limits or prohibitions on the company when it comes to acquiring such venues in the future. And they want “money damages for overcharges on ticketing fees paid by residents of the Plaintiff States” as well as the handover of “ill-gotten profits derived from ticketing fees” during the time of the “unlawful monopoly.”
A rep for Live Nation did not immediately return a request for comment on Thursday. The company is expected to argue that the case can be resolved solely by the changes to its business practices previously agreed to with the DOJ, including limiting the use of exclusive contracts, without divesting Ticketmaster. “We remain confident that the ultimate outcome of the states’ case will not be materially different than what is envisioned by the DOJ settlement,” said Live Nation in a statement last month.
An updated version of the Nurture Originals, Foster Art, and Keep Entertainment Safe (NO FAKES) Act was reintroduced in the U.S. House of Representatives and Senate on Wednesday (May 20) with a wide coalition of music industry support, including from the three major music companies, the Recording Industry Association of America (RIAA), the Recording Academy and the National Music Publishers Association (NMPA).
The bill, which aims to establish federal rights around likeness for individuals portrayed in digital deepfakes, was first introduced in 2024. While it has maintained steadfast support within the music industry ever since, including a co-sign from country star Randy Travis last year, it has also increasingly gained the support of the tech giants. Last year, OpenAI, Google and IBM announced their support of the bill, and now, with this latest reintroduction, Spotify and Getty are signing on as well.
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Some critics, however, have warned that such legislation is too aggressive and could hamper free speech. By granting people a broad new way to sue over the use of their likenesses on the internet — existing state laws are more limited, covering only commercial exploitation — opponents of previous versions of the NO FAKES Act have warned that it could force online platforms to self-censor and remove too much content out of fear of legal liability.
The bill’s authors say they’ve avoided those pitfalls with the latest version, which they say has “carefully calibrated exceptions” aimed at ensuring “open discourse,” including explicit carve-outs for news coverage, biopics and criticism. There is also protection from liability for libraries and similar organizations.
The other updates to the bill are to ensure that the enforcement mechanisms work for a wide variety of platforms — whether it’s a user-generated platform, like YouTube, or a more curated one, like Spotify. Now, the way disputes are processed and enforced will be tailored to what kind of platform the issue occurs on. For a site that relies on user-generated content, it offers a “safe harbor,” meaning the platform will not be held liable for a user’s deepfake upload to its site as long as it follows the rules and takes down the content when it’s alerted to it. The updated bill also now allows for challenges to incorrect takedown notices.
The goal of NO FAKES is to provide nationwide protection over one’s voice and likeness in the case of “digital replicas,” which include — but are not limited to — deepfakes created by artificial intelligence. This is an increasingly pressing issue for the music industry, as artists, including Taylor Swift — who recently applied for new trademarks on the sound of her voice, a move seemingly designed to combat deepfakes — face issues with the dissemination of images and songs that contain AI recreations of themselves.
Currently, artists’ only protection against AI deepfakes is from some states’ right of publicity laws, which vary widely in the level of protection they provide. Some states, like Tennessee, have updated their publicity rights laws to cover issues specific to the AI age, but many have not. NO FAKES’ proponents believe the bill could create a baseline level of protection for all citizens.
The NO FAKES Act was first introduced as a draft bill in 2023 and formally introduced to the Senate in the summer of 2024. Other music industry supporters include CAA, BMI, American Association of Independent Music (A2IM), Academy of Country Music, Human Artistry Campaign, Music Artists Coalition, American Federation of Musicians (AFM), ASCAP, SAG-AFTRA, SESAC, Songwriters of North America (SONA), Sound Exchange, Christian Music Trade Association, Folk Alliance International and more.
Additional reporting by Bill Donahue.
Snoop Dogg says in new court filings that his company was not in charge of the Los Angeles hip-hop festival where Drakeo the Ruler was fatally stabbed in 2021.
The argument came in a series of Tuesday (May 19) motions that seek to throw out wrongful death claims brought against Snoop’s company, Snoop Dogg’s LLC (SDLLC), over Drakeo’s killing. The rapper (born Darrell Caldwell) died of stab wounds after being attacked by a large group backstage at the Once Upon a Time in LA festival in December 2021.
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Drakeo’s family members later filed multiple negligence lawsuits alleging that various companies involved with Once Upon a Time in LA, including Live Nation and C3 Presents, were to blame for his death because they provided insufficient security at the event. Two of these lawsuits, brought by Drakeo’s mother and brother, claim SDLLC also holds some liability because it helped organize and promote the festival.
Snoop himself expressly denies this in his Tuesday declarations to the court. The rapper (Calvin Broadus Jr.), the controlling member of SDLLC, says in the filings that his company “had no role in management of the festival” and “did not supervise security personnel.”
Lawyers for SDLLC elaborate on this in accompanying legal memos, arguing that Snoop’s only written contract with Once Upon a Time in LA was a $500,000 performance agreement for the star’s one-hour set. According to the attorneys, that contract “does not require the artist to control the premises or manage the event.”
“The subject incident video itself confirms SDLLC’s lack of involvement,” read the memos. “The evidence shows that no employee, agent or representative of SDLLC was present at the backstage area at the time of the altercation.”
SDLLC is asking a judge to enter a summary judgment order permanently ending its involvement in the litigation. Lawyers for Drakeo’s mother and brother did not immediately return a request for comment on Wednesday (May 20). They will likely respond to the summary judgment request in writing in the coming months.
If the allegations survive summary judgment, they’ll be part of a larger trial scheduled to begin this September on all the claims brought by Drakeo’s mother, brother and son over his death. In addition to SDLLC, the defendants include industry giant Live Nation and other concert promoters and security personnel from the festival. (Live Nation has denied any wrongdoing, saying Drakeo’s death was “unforeseeable.”)
The lawsuits also initially targeted the operators of BMO Stadium, which hosted parts of Once Upon a Time in LA. Judge James I. Montgomery threw out those claims earlier this month, however, ruling that Drakeo’s death occurred in a different section of the festival grounds not owned by the stadium.