MELBOURNE, Australia — David Vodicka has a new law firm.

The Melbourne-based independent music chief and preeminent music lawyer launched David Vodicka Music & Entertainment Lawyers on Wednesday (July 1)

The new firm rises from Media Arts Lawyers, which Vodicka shutters after more than 25 years.

“I’ve spent much of my career inside the music industry, not just advising it. As a lawyer, record label founder, music publisher, broadcaster, board director and industry advocate, I’ve had the opportunity to see this (entertainment) business from a few different angles. That experience will continue to inform how I think, how I advise, and what I value,” Vodicka writes in a post on LinkedIn.

“Over time, it’s reinforced something I’ve always believed: the most valuable advice comes long before a contract is negotiated, a dispute emerges, or a transaction reaches the table,” he continues. “It comes from understanding the industry, recognising the dynamics that matter, and helping clients navigate the decisions that shape careers, businesses, and creative assets — at all stages.”

As principal and founding partner in Media Arts Lawyers, Vodicka was a regular entry in Billboard‘s list of Top Music Lawyers, while the business represented the likes of Courtney Barnett, Flume, Gotye, Tame Impala, Kylie Minogue, Daniel Johns, AIR, and many others. The business was active in artist and talent representation, rights and licensing, music industry transactions, acquisitions and complex commercial negotiations, including more than A$300 million ($207.2 million) in mergers, acquisitions, catalog sales, investments and transactions involving entertainment, media and creative industry assets.

Vodicka also serves as the board chair of the Australian Independent Record Labels Association (AIR) and serves as board member of ARIA and RISING.

Through his new venture, Vodicka will continue to work alongside artists, rights holders, executives and entertainment businesses on “significant negotiations, transactions, disputes and strategic decisions,” reads a statement, “bringing decades of industry experience to matters where outcomes are shaped as much by insight and perspective as they are by contracts.”

A statement on Media Arts Lawyers’ website reads: “After more than 25 years advising clients across the entertainment, media and creative industries, Media Arts Lawyers has reached an important milestone in its evolution.” The partners “will continue their practices through their respective new business entities.” Two of those partners, Julian Hewitt and Rob Glass, are behind the new firm, Hewitt Glass Law.

“Media Arts Lawyers was an extraordinary chapter,” Vodicka continues.

The Melbourne scene builder and legal veteran adds: “To everyone who was part of the Media Arts Lawyers story: thank you. It was a privilege. To clients, friends and industry colleagues, I look forward to continuing the conversation.”

Visit davidvodicka.com.au for more.

While Donald Trump has his heart set on making Canada part of the United States, our neighbors to the North would rather join Euro(Vision). The Eurovision Song Contest announced on Wednesday (July 1) that, despite being an ocean away, Canada has officially been invited to join next year’s competition.

The announcement came on Canada Day, of course, with the beloved, predictably bonkers event revealing the news in an Instagram post that explained how, despite fully not being on the European continent, Canada has been welcomed into the fold for the first time.

“Happy Canada Day! 🇨🇦 Canada will make its Eurovision Song Contest debut in Bulgaria next year 🎤 Now that CBC/Radio-Canada has become a full EBU Member, Canada will be the first new country to join our lineup since Australia in 2015,” read an Instagram post. The joyous news comes after CBC/Radio-Canada became a full member of the European Broadcasting Union, which coordinates the contest, following a vote at the 96th general assembly in Prague on June 25.

“On top of the many benefits and opportunities this offers Canada’s national public broadcaster, which has been an Associate member of the EBU since 1950, full membership means that CBC/Radio-Canada is now eligible to participate in the Eurovision Song Contest,” explained a statement on the Eurovision site.

Canada will compete in the semifinals of the contest when they join next year, with Canadians encouraged to follow their country’s journey to Bulgaria by joining Eurofan to track their progress. “We’re so excited to confirm that we’re bringing the world’s largest live music event to Canadians. Our participation in the Eurovision Song Contest, starting next year in Bulgaria, will allow Canadian talent to be showcased on one of the most storied music stages in the world,” said CBC/Radio-Canada president/CEO Marie-Philippe Bouchard in a statement. “It will also allow fans in Canada to continue watching and voting in the Song Contest, as they have done for years — with the added thrill of seeing their own country represented on the Eurovision stage.”

The annual song spectacle is known for its sometimes outrageous staging and costuming, soaring ballads, bonkers metal acts and Canadian icon Celine Dion, who, not for nothing, is the only Canadian to ever win Eurovision. A year before her global breakthrough in 1989, Quebec native Dion gave Switzerland its second Eurovision victory in Dublin with her unforgettable performance of “Ne Partez Pas Sans Moi.”

In addition to noting the long list of Canadian-bred artists who’ve taken the stage at Eurovision over the past 70 years while representing other countries — including Lara Fabian, Sherisse Laurence, Annie Cotton, Natasha St-Pier, La Zarra, Katerine Duska and Rykka — the announcement noted that at this year’s contest in Vienna Canada was in the top 3 nations choosing their favorites in the Rest of the World vote. The country was also reportedly among the top ticket-buyers outside of Europe this year, with a number of Canadians making the trek to Austria to take in the event.

“We are absolutely delighted to welcome CBC/Radio-Canada to the Eurovision Song Contest family – a further sign that, while born in Europe, the Contest continues to welcome the world,” said Eurovision director Martin Green. “Canada has a proud and memorable connection to the Contest, with Canadian artists, not least 1988 winner Céline Dion, having taken to our stage many times leaving a lasting mark on audiences around the world. With CBC/Radio-Canada now able to participate in the Contest as a full EBU Member, we look forward to seeing Canada bring its own voice, creativity, and energy to the Eurovision Song Contest stage in Bulgaria in 2027.”

The 71st Eurovision Song Contest will take place at an as-yet-unannounced venue in Bulgaria after native singer Dara won this year’s contest with her beat-bonkers disco anthem “Bangaranga.”

New evidence has emerged in Pooh Shiesty’s robbery case alleging that the Memphis rapper forced Gucci Mane to sign his release from 1017 Records at gunpoint while on federal home confinement.

After Shiesty’s (born Lontrell Williams Jr.) bail was denied in Texas federal court in May, the “Back in Blood” rapper’s attorneys filed a motion to review his detention orders. On June 24, prosecutors responded with a filing, viewed by Billboard, that alleges they have strong proof of Shiesty’s guilt — including video footage of the alleged armed robbery and kidnapping, along with a copy of the “release of contract” Mane was allegedly forced to sign to free Shiesty from his label deal.

The prosecution claims that the footage shows Mane in the studio being forced to declare that Shiesty was “dropped” from 1017 and out of his contract. Prosecutors also allege that the video matches the victims’ accounts of the robbery, which took place in January at a Dallas recording studio. An 8GB USB drive was also put forth as evidence by the prosecution, with a photo of the device included in the court documents.

Prosecutors allege that the “release of contract” agreement constitutes a “full termination and release” of Shiesty from his deal with 1017 Records, which signed him in 2020.

“Reference is hereby made to the agreement between 1017 Global Music LLC (‘Company’) and Lontrell Williams p/k/a Pooh Shiesty (‘Artist’) dated as of April 1, 2020 (the ‘Agreement’),” the paperwork allegedly reads. “The following, when signed by Artist and by Company (collectively the ‘Parties’), will constitute a full Termination and Release of the Agreement by the Parties.”

Shiesty, along with his father, Lontrell Williams Sr., and rapper Big30 (Rodney Lamont Wright Jr.), were among eight individuals arrested on April 1 over the alleged dispute, which is said to have taken place on Jan. 10 in Dallas.

Prosecutors previously alleged that Shiesty and his co-conspirators drew guns and barricaded Mane’s team inside the recording studio while they forced Mane to sign the release. The group is accused of stealing jewelry, Rolex watches and cash during the alleged altercation.

Shiesty’s trial was originally set for July, before being pushed back to Feb. 22, 2027. The Memphis rapper remains in custody.

The latest trial in a long-running legal battle pitting T.I. and Tameka “Tiny” Harris against toy company MGA ended in a loss for the power couple — but they’re still walking away with millions of dollars.  

Lawyers for T.I. and Tiny confirmed on Wednesday (July 1) that a federal jury rejected their request to tack additional damages onto the $18 million they previously won from MGA — the toy behemoth behind successful brands like Bratz and Little Tikes — for copying their teen pop group OMG Girlz with a line of “O.M.G.” dolls. At this trial, T.I. and Tiny argued that MGA should pay extra because the infringement was intentional and malicious. But the jury was unconvinced, rejecting the couple’s request to add so-called punitive damages.

In a statement to Billboard, the Harrises’ attorneys said they “appreciate the jury’s time and consideration but are disappointed in the verdict.”

“It’s clear from the evidence that MGA’s policies are inadequate to prevent this type of IP infringement and their document retention and collection procedures are equally as suspect,” said the musicians’ lawyers. “We will continue to fight for our clients’ rights and the rights of all creatives.”

Reps for MGA did not immediately return requests for comment on the verdict.

This was the fourth trial in six years of litigation over the O.M.G. dolls. T.I and Tiny began alleging in 2020 that MGA’s dolls ripped off the name, outfits and neon-colored hair of the OMG Girlz, a trio founded by the Harrises in 2009 and featuring their daughter Zonnique Pullins alongside Bahja Rodriguez and Breaunna Womack. MGA has consistently denied any infringement.

An initial trial in the case ended in a mistrial in 2023 due to improper testimony about racism, and a jury cleared MGA of all wrongdoing at a second trial the same year. But that verdict was wiped on appeal amid evolving Supreme Court precedent, teeing up a third trial in 2024. That time, a jury found that MGA intentionally copied the OMG Girlz and awarded $18 million in profits, plus $53 million in punitive damages for a total of $71 million.

Last summer, however, a judge wiped out the punitive damages after determining that the Harrises had not put forth “clear and convincing evidence of willful infringement or conscious disregard for the rights of others.” This led to a fourth mini-trial this month solely on the question of punitive damages, in which jurors sided with MGA on Wednesday and capped the verdict at $18 million.

In the wake of Clive Davis‘ passing, much has been written by others about the music executive’s accomplishments — but Davis also recently discussed those accomplishments in his own words. Only a few months before his death, the industry legend sat down for a Zoom interview with a former executive who worked for him, in which he reflected on his long career.

Rick Bleiweiss — a former senior vp of sales for Arista Records and, before that, Island Records, who also served as a senior vp of marketing and field operations for Arista’s distributor, BMG Distribution — interviewed Davis in December. The interview is wide-ranging, covering his early career as a corporate lawyer and later transition to general counsel for Columbia Records before becoming president of that label in 1965.

From there, the interview covered some of his biggest signings and his dealings with the likes of Janis Joplin, Chicago, Bruce Springsteen and Santana.

Bleiweiss — who has since become an executive in the book publishing industry as well as a mystery author, with three books in the Pidnon Scorpion series, among other writings — also got Davis to talk in depth about his termination from Arista by executives from the label’s parent, BMG, and, even more revealingly, about his subsequent business demands in starting up J Records. Davis’ versions of those stories are even more detailed than last week’s memorial column on him by another former Davis executive, Charles Goldstuck. (Davis was also interviewed by his son, Fred Davis, in May at the Amplify Music Investment Summit.)

To watch the full almost 60-minute interview, follow this link, provided to Billboard by Bleiweiss.

Tencent Music, Billboard China and Billboard Korea have officially announced the winners of the inaugural cross-market fan voting initiative recognizing standout K-pop artists across four categories.

Based on the combined results from both the China and Korea voting channels, the final winners are:

Boy Group: SEVENTEEN 《THUNDER》

Girl Group: i-dle 《나는 아픈 건 딱 질색이니까 (Fate)》

Male Solo: THE8 《Cold Love》

Female Solo: NINGNING 《Ketchup And Lemonade (NINGNING Solo)》

The project combines editorial curation with fan participation. Nominees were selected based on their performance on the Tencent Music Korean Chart alongside recommendations from Billboard Korea‘s editorial team, with final results determined through fan voting. The awards recognize artists who demonstrated both strong chart performance and broad fan support.

The campaign featured four categories — Boy Group, Girl Group, Male Solo and Female Solo — highlighting both group and solo artists across the K-pop landscape.

In the Tencent Music Chart and Billboard China voting channel, EXO topped the Boy Group category with “Crown,” while i-dle’s “Fate” led the Girl Group category. THE8 earned the top spot in Male Solo with “Cold Love,” and NINGNING topped the Female Solo category with “Ketchup And Lemonade (NINGNING Solo).”

The final winners were determined by combining results from the China and Korea voting channels. Voting in both markets produced the same winners in the Male Solo and Female Solo categories. In the Korea voting channel, BTS’ “Body to Body” topped the Boy Group category, while BLACKPINK’s “JUMP” led the Girl Group vote.

The combined results highlight both the strong alignment in audience tastes across markets and the subtle differences in fan preferences, offering an interesting snapshot of how music resonates with listeners in different regions.

The inaugural cross-market initiative marks a new collaboration between Billboard China, Billboard Korea and Tencent Music, bringing together chart performance, editorial curation and fan participation in a cross-market initiative. The project also reflects a broader effort to explore new ways of connecting music fans across different markets through Billboard’s global network.