Black Music Coalition Issues List of Demands for British Companies: ‘We Expect That These Long Overdue Steps Will Be Implemented’

London, England. Photo Credit: Artur Tumasjan

A number of black music executives have formed the Black Music Coalition and dispatched a firmly worded letter containing progress-minded demands for UK companies to implement.

The Black Music Coalition addressed the open letter to “chairmen, CEOs, presidents, and music industry leaders,” and it appears that the message was accordingly sent to a variety of companies and organizations.

After recounting recent tragedies involving African Americans, including the death of George Floyd, the letter shifted its focus to black individuals around the world and, specifically, in the United Kingdom:

“For far too long, the global Black community has faced racial injustice, inequality, and disenfranchisement across all aspects of society and here in the UK, is no different… Simply put, the UK is not innocent.”

The piece then explored the effects of the COVID-19 crisis – as well as the disease’s statistically more pronounced impact on black UK males than white UK males – before summarizing the letter’s chief purpose.

“The music industry has long profited from the rich and varied culture of Black people for many generations, but overall, we feel it has failed to acknowledge the structural and systematic racism affecting the very same Black community and so effectively, enjoying the rhythm and ignoring the blues,” stated the document.

In terms of desired “immediate calls to action” for the letter’s recipients, the Black Music Coalition mentioned “mandatory anti-racism/unconscious bias training” for all non-black staff members and “complimentary counseling” for black employees, as well as an annual earmark to support UK-based charities that specifically aid the black community.

Additionally, the piece requested “career development” programs for black persons, the elimination of the term “urban” from within companies (the Recording Academy and Republic Records have already made the change), and a “dedicated internal task force” to review diversity and inclusion measures while spearheading new programs.

“We expect that these long overdue steps will be implemented in a comprehensive manner,” the letter said at its close.

32 individuals – Universal Music Group’s Alex Boateng and Warner Music’s Joe Kentish among them – attached their names to the letter.

At the time of this writing, UK companies were in the process of crafting responses to the message; it’s unclear whether a stateside counterpart will be published in the near future.

PPL Collected More Than $342 Million in 2019, Paid All-Time-High Number of Performers

London’s Tower Bridge. Photo Credit: Susan Yin

UK music licensing and performance rights organization Phonographic Performance Limited (PPL) has revealed that it collected more than $342 million (£271.8 million) worth of royalties on behalf of its members in 2019.

PPL unveiled the figure and an array of other 2019 fiscal information in a comprehensive press release, which was shared with Digital Music News.

2019’s $342 million in collections represent a 10 percent (about $31.47 million) increase from 2018, according to PPL.

The noteworthy gain was produced by year-over-year upticks in broadcast and online income (two percent, for a total of roughly $107.62 million), public performance and dubbing (eight percent, for a total of about $125.38 million), and international collections (22 percent, for a total of approximately $109.14 million).

In explaining the broadcast and online revenue jump, PPL cited the closure of “major long-term licensing deals” with television stations and “an increase in the number of smaller radio broadcasters and online linear webcasters acquiring licenses.” Undoubtedly, the latter will be worth following in the coming months and years, as digital radio and podcasting become additionally popular and lucrative.

Public performance and dubbing growth was attributed to the efficiency and accessibility brought on by a joint venture with PRS for Music, PPL PRS, Ltd., which recorded its second full year in 2019. And international collections’ expansion resulted from agreements with global collective bodies, several of which, including some in Africa and Latin America’s quickly developing markets, submitted collections for the first time.

Addressing his organization’s fiscal report, PPL CEO Peter Leathem said: “2019 was a positive year for PPL as we saw record revenues and paid out performance royalties to more performers and recording rightsholders than ever before. Such success benefits the growing community that we represent both in the UK and internationally.”

PPL paid more than 100,000 performers (approximately 108,000) for the first time in its history last year. Plus, the entity indicated that 2019 revenue is enabling it to assist individuals “whose other income sources have declined due to COVID-19,” including a more than $30 million payout in April as an advance on the scheduled June distribution.

$99 Million Released by the Film Musicians Secondary Markets Fund

Photo Credit: Samuel Sianipar

The Film Musicians Secondary Markets Fund has distributed $99 million to American Federation of Musicians (AFM) members and their beneficiaries more than a month earlier than planned, owing to the fiscal strain brought on by the novel coronavirus (COVID-19) crisis.

The sum will reach about 17,000 of the AFM’s approximately 75,000 members, virtually all of whom are earning less as a result of widespread film and television production shutdowns. Historically, the Film Musicians Secondary Markets Fund has released its payment once per year, at the start of July.

At the time of this writing, the Encino, California-based non-profit organization hadn’t addressed the early payment release on its official website. However, the organization did announce the move on social media, and several users expressed their support for and appreciation of the unexpected step.

Earlier this month, Digital Music News was first to report that the AFM and SAG-AFTRA had forwarded $62 million in royalties to musicians via the Intellectual Property Rights Distribution Fund (IPRDF) – which is the largest annual sum that the Fund has produced since being established in 2008.

The music industry’s talented performers and professionals are being hit especially hard by the coronavirus crisis. Recording studios are just beginning to reopen, and crowd-based life performances, which constitute a major portion of many artists’ income, are only starting to return—albeit in different forms than before the pandemic initiated.

A recent survey conducted by the United Kingdom’s Musicians’ Union found that 20 percent of UK musicians fear that the coronavirus’s far-reaching societal and economic impact will mark the end of their careers.

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Similarly, New York City’s Freelancers Union determined this month that 84 percent of freelancers—including artists—who’ve requested government aid amid the pandemic are still waiting to receive payments.

To date, medical professionals have diagnosed about 5.27 million worldwide COVID-19 cases, and almost 338,000 individuals have perished as a result of the disease’s complications.

Kendall Jenner Slapped With $90,000 Fine Over Fraudulent Fyre Festival Posts


Kendall Jenner posing for W Korea in 2017. Photo Credit: Jonathan Emma

Kendall Jenner has been ordered to pay a $90,000 fine for the social media posts she published to promote the ill-fated Fyre Festival.

The whopping settlement was issued by the U.S. Bankruptcy Court for the Southern District of New York, which, owing to its exclusive jurisdiction over Manhattan businesses and financial firms, handles many high-profile bankruptcy cases. Digital Music News obtained an exclusive copy of the corresponding legal filing.

Per the latter, Fyre Festival organizers paid Jenner a staggering $275,000 for promoting their event to her many millions of Instagram followers (129.8 million presently). Of course, the luxury Bahamas music festival was ultimately exposed as a scam; attendees arrived to find none of the promised live performances, inadequate accommodations, lacking security, and cuisine that was far from what was promised by promoters.

At the time of this writing, Kendall Jenner hadn’t publicly commented on the $90,000 fine.

However, the 24-year-old did address her part in promoting Fyre Festival last year, during an interview with The New York Times.

About five weeks back, we reported that Fyre Festival mastermind Billy McFarland, who is serving a six-year prison sentence, had requested an early release due to the health risks presented to inmates by the novel coronavirus.

McFarland is still incarcerated at Ohio’s FCI Elkton, where nine prisoners have perished as a result of complications stemming from COVID-19. 837 of Elkton’s almost 2,000 inmates are expected to be released in the near future, though it’s unclear whether this will include the 28-year-old Fyre Festival founder.

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Andy King—one of the few employees whose reputation emerged unscathed following Fyre Festival’s unprecedented controversy—was previously set to embark on a UK speaking tour, but the COVID-19 pandemic forced him to put the “Fyre-Side Chat” on ice.

Troubled rapper R. Kelly has too requested an early release from prison because of the coronavirus—multiple times, to be sure—but judges have denied each of his applications to date.

Tekashi 6ix9ine, for his part, requested and received permission to serve the remainder of his sentence from home. Earlier this month, the 24-year-old dropped his first post-prison single, “Gooba.”

John Malone Isn’t Worried About Concerts Coming Back — “Human Beings Are Gregarious By Nature”

The Liberty Media logo.

Billionaire businessman and Liberty Media Chairman John C. Malone doesn’t believe that the novel coronavirus will have a material impact on the long-term viability of the live-event sector.

The 79-year-old indicated as much during Liberty Media’s annual virtual meeting with stockholders, which took place this morning. “Human beings are gregarious by nature,” said the Connecticut native when explaining his stance on the matter. “Here in Florida, the bars are open, and they’re pretty packed.”

Further, Malone struck a hopeful tone when discussing the potential relief – to individuals and, in turn, the market – that will be created by a vaccine or other form of COVID-19 therapy.

On that front, the federal government announced today that the Department of Health and Human Services will provide up to $1.2 billion to the UK’s AstraZeneca as it moves quickly to develop a viable vaccine; the company believes it can deliver initial doses as early as this September.

Liberty Media’s holdings stand to benefit tremendously from a relative return to normalcy and the reemergence of crowd-based live events. The publicly traded business owns the Atlanta Braves, Formula One, and a controlling share of SiriusXM, among other properties.

Some early signs – besides the reopening of economies across the United States and the world, as well as the immediate popularity of public gatherings – appear to support John C. Malone’s assessment. Fans quickly purchased tickets to America’s first socially distanced concert, which took place on Monday. Plus, ticket sales for drive-in film festivals and concerts have been encouraging.

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Additionally, the leading concert-promotion company said in its Q1 2020 earnings report that only a small portion of ticketholders have asked for refunds. Also offering an upbeat take is Microsoft veteran Greg Maffei, who serves as Live Nation’s chairman and as Liberty Media’s president and CEO.

To date, medical professionals have diagnosed about 5.17 million worldwide COVID-19 cases, and nearly 330,000 individuals have perished as a result of the disease’s complications.

140 British Music Venues Saved from Bankruptcy Following a Rush of Donations

German electronic music group Moderat performing at a small venue. (photo: Yannis Papanastasopoulos)

Through its #saveourvenues initiative, The Music Venue Trust (MVT) has raised over $1.8 million for British music venues, 140 of which have been removed from the organization’s “critical” list of establishments that may soon be forced to close their doors.

Music Venue Trust officials emailed Digital Music News with the encouraging financial aid benchmark. MVT launched the #saveourvenues campaign three weeks back, and thus far, more than 3,000 fans, artists, and music industry professionals have rallied behind the cause. The fund specifically benefits 556 British music venues that MVT has determined run the risk of imminently going out of business.

Though the groundswell of support has been encouraging, MVT officials emphasized that the 140 venues aren’t out of the woods. “This activity does not mean that any these 140 venues are protected permanently,” the group stated, “and MVT are calling for more music industry donations and governmental intervention to help secure their long-term future.”

Further, 400 or so venues remain on the MVT’s “critical” list, though it’s unclear how long they can stay afloat given today’s trying circumstances. It’s also unclear how many have already been forced out of business.

Signaling urgency when addressing his organization’s fundraising success and impact on British music venues, Music Venue Trust Founder and CEO Mark Davyd said: “Whilst the immediate threat of closure for these venues has been halted they are still under real threat in the coming months as are over 400 others.”

The United Kingdom’s music community, like that of the United States and other nations around the globe, is struggling amid the coronavirus (COVID-19) crisis. Last week, Digital Music News was first to report that 20 percent of British musicians fear the pandemic will mark the end of their careers.

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To date, UK medical professionals have diagnosed approximately 246,000 COVID-19 cases, and about 35,000 residents have perished as a result of the disease’s complications.

Grubman Law Firm Reportedly Faces $21 Million Ransomware Demand

Photo Credit: Dmitry Demidko

Days after the Grubman ransomware attack happens, hackers are now estimated to want $21 million in Bitcoin.

Entertainment and music law firm Grubman Shire Meiselas & Sacks is now dealing with a serious cyberattack, one that may carry an extreme ransom demand. Earlier, Digital Music News reported that hackers made off with 756 GB of private client data – including non-disclosure agreements, contracts, and similarly-sensitive docs. The Grubman law firm represents huge names in the business like Lady Gaga, Madonna, Bruce Springsteen, Elton John, and more.

Part of Madonna’s “Madame X” tour contract was reportedly leaked in the Grubman ransomware attack on the dark web.

The FBI is investigating the cyberattack, while Grubman is informing its clients of the theft. According to a new report in Page Six, “The hackers got into the system while everyone was focused on the coronavirus. We assume, but there is no confirmation that the hackers are Eastern European. They are demanding a $21 million ransom, and the firm is not negotiating with them.”

Hacking group REvil took credit for the attack. In January, the group attacked a foreign exchange company in the UK, demanding a ransom to unencrypt data. HBO, Zoom, and the Texas court system have all suffered attacks similar to the Grubman ransomware demand. The difference here is the amount of sensitive data the Grubman law firm has on hand.

One source says of Grubman, “his firm has sensitive details on everything – work contracts, confidential settlements, and endorsement deals for the biggest stars in New York and Hollywood.”

Also Read:  Live Nation, Ticketmaster Face Class Action Litigation Over Monopolistic AbuseSo far, Grubman has publicly acknowledged the attack and says it is notifying clients and staff.

Grubman’s statement yesterday says the law firm has “hired the world’s experts who specialize in this area.” Some other musicians represented by the firm include Lil Nas X, The Weeknd, U2, Drake, Rod Stewart, and Barry Manilow. But it doesn’t stop right at the music industry, either. Other famous clients include Robert De Niro, LeBron James, and Mike Tyson.

More as this develops.

British Songwriter, Composer Royalties Approached $1 Billion In 2019

The UK’s leading collection society, PRS for Music, secured nearly $1 billion (£810.8 million) on behalf of its more than 145,500 songwriters, composers, and publishers in 2019.

PRS for Music revealed the impressive figure – along with other interesting stats pertaining to its 2019 operations – in a release shared with Digital Music News this morning.

Last year’s total royalties represent an 8.7 percent (over $79.3 million) uptick from 2018’s figure. Additionally, the society managed to reduce the costs associated with collecting royalties by 6.7 percent from the prior year, to about $107 million, which contributed to a 13.7 percent increase in the sum paid out to members. Some $837.5 million (£686 million) reached PRS for Music members’ pockets in 2019.

A substantial portion of PRS’s 2019 revenue – nearly $340 million (£278.7 million) – derived from international royalties obtained via reciprocal agreements with other collection societies. But while the latter amount dropped by 1.1 percent, compared to the 2018 total, digital-platform royalties – including those from streaming services, video games, and downloads – grew 24.2 percent year-over-year, to more than $218.3 million (£179.1 million).

Owing to the considerable economic impact of the coronavirus (COVID-19) crisis and its associated lockdown measures, it appears likely that PRS for Music’s international and digital royalties will decrease in 2020. However, two significant elements of the society’s income are undoubtedly suffering presently: business and live performance licensing.

According to PRS for Music’s 2019 report, royalties stemming from live performances and tracks played within commercial establishments jumped 15.7 percent from 2018, to almost $271 million (£222.2 million). With essentially all concerts and music festivals having been put on ice, and Prime Minister Boris Johnson stating that the hospitality sector will reopen its doors in July at the earliest, this segment of PRS’s income is severely compromised.

Also Read:  More Than 341 Million People Subscribe to Streaming Music Services Worldwide

Many UK employees returned to work yesterday, following Prime Minister Johnson’s cited speech. To date, UK medical professionals have diagnosed over 233,000 COVID-19 cases, while roughly 33,600 citizens have perished as a result of the disease’s complications.

92% of Independent UK Festivals Will Disappear Without Government Support — AIF Report

Photo Credit: Sicong Li

The Association of Independent Festivals (AIF) warns that indie UK festivals are facing decimation.

A new AIF report says independent UK festivals cannot survive without government action. The festival sector in the UK is facing potential refunds of up to £800 million ($977 million) this summer alone. That’s based on the fact that around 90% of all UK festivals won’t happen in 2020.

AIF says its members have average ‘sunk costs’ of £375,000 ($458,000) that are not recoverable. Based on impact surveys conducted among its members, AIF says 92% of independent UK festivals are facing collapse.

The live sector in the UK is also facing 59% redundancies on average across the whole industry. UK festivals are projected to lose more than half of their workforce between September 2020 and February 2021 — without government aid.

The AIF is lobbying the UK government to help save the independent UK festivals sector.

Some of those provisions include clarity on eligibility for grants and loans, as well as rolling premise license fees over 2021 for postponed or canceled events.  The report also calls for clear guidance on when festivals can re-open and the social distancing measures that would be required. AIF CEO Paul Reed calls on the UK government to do more for its members.

“While the government has been receptive to AIF’s counsel, it has not taken meaningful action to protect our sector,” Reed says. “Single event festival companies are seasonal businesses. They need urgent support now, and ongoing support after lockdown ends and restrictions are eased. This [pandemic] is not a temporary shutdown of business — it is an entire year of income and trade wiped out. If support is not offered throughout the autumn, then the sector will face widespread job losses that will seriously inhibit its ability to deliver events in 2021.”

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The AIF says independent UK festivals have no safety net, and many have fallen through the cracks of government support measures.

Will They Pay? Grubman Shire Responds to High-Stakes Ransomware Attack

Photo Credit: Markus Spiske

Entertainment law firm Grubman Shire Meiselas & Sacks confirms a ransomware attack is in progress. Will they pay?

The law firm is starting the process of alerting its list of clients impacted by the theft. We reported on the high-security data breach yesterday – over 750 GB of data was stolen. Stolen data included contract provisions, with at least one leaked piece appearing to be from Madonna’s “Madame X” tour.

“We can confirm that we’ve been victimized by a cyberattack,” the New York law firm confirmed on Tuesday. “We have notified our clients and our staff. [Grubman Shire] have hired the world’s experts who specialize in this area, and we are working around the clock to address these matters.”

A hacker group called REvil is claiming responsibility for the attack. Some of the clients retaining Grubman Shire Meiselas & Sacks services include Lady Gaga, Madonna, Nicki Minaj, Mary J. Blige, Bruce Springsteen, Ella Mai, Christina Aguilera, Mariah Carey, Cam Newton, Bette Midler, Jessica Simpson, Priyanka Chopra, and more.

Cybersecurity firm Emsisoft revealed the hack after monitoring discussions on dark web forums. A small dump of files from the hack includes contracts, non-disclosure agreements, private correspondence, names, and email addresses.

REvil is well-known among security researchers who monitor ransomware attacks. The company previously targeted a UK company called Travelex, which paid $2.3 million to hackers to recover its data.

It’s unclear if Grubman Shire Meiselas & Sacks will pay the BTC ransom the hackers are asking. The law firm has not revealed the sum hackers are asking for in the attack.

That is, assuming this is a monetary ransom. In this type of attack, hackers typically ask the victim to pay a large amount of money in Bitcoin. If the victim refuses, the hacker threatens to release the information publicly. Given this treasure trove of data includes non-disclosure agreements, that could be bad for everyone involved. We’ll keep you updated as the story progresses.

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One in Five British Musicians Fear Coronavirus Will End Their Careers

A shot of Buckingham Palace from The Mall in London. (photo: Matt Antonioli)

According to a survey conducted by the Musicians’ Union, 20 percent of British musicians fear that their professional careers will end as a result of the economic strain brought on by the novel coronavirus.

1,459 Musicians’ Union members responded to the survey, which also shed light upon musicians’ access (or lack thereof) to fiscal aid from the government. 38 percent of respondents stated that they don’t qualify for benefits presently; stateside freelance artists are also having trouble securing and qualifying for unemployment assistance, per the New York City-based Freelancers Union.

Additionally, the Musicians’ Union found that a quarter of the UK musicians who qualify for their government’s support program will have difficulty making ends meet until the first payment arrives.

To remedy the situation and alleviate the plight of struggling artists, the Musicians’ Union has recommended that the UK government make several changes to the aid program, including altering its income cap and removing other limitations.

Besides highlighting the perceived shortcomings artists are facing with the UK’s coronavirus-relief support, the Musicians’ Union is calling on Culture Secretary Oliver Dowden to investigate music streaming platforms’ artist payments.

At the time of this writing, UK government officials hadn’t publicly responded to the request for relaxed unemployment-assistance requirements or the music streaming reform petition.

During the last two weeks, approximately 6.3 million UK employees have been furloughed, and over one million UK workers have applied for universal credit payments.

The coronavirus and its associated lockdown measures have had a similarly devastating impact in the United States. White House economic adviser Kevin Hassett recently stated that the domestic unemployment rate could surpass 20 percent in the coming months.

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To date, medical professionals have diagnosed over 4.2 million worldwide COVID-19 cases, and more than 286,000 individuals have perished as a result of the disease’s complications.

Ivors Academy, Musicians’ Union Urge Lawmakers to Investigate Music Streaming Royalties —  Or Lack Thereof

(photo: Ivors Academy)

The Musicians’ Union and the Ivors Academy have started a petition urging UK government officials to investigate music streaming on behalf of songwriters and artists.

The London-based organizations, which represent over 32,000 total music writers and artists, published their campaign under the “Keep Music Alive” banner.

At its start, the petition reiterates the immense financial difficulty that artists and music-industry professionals are grappling with amid the coronavirus (COVID-19) crisis, given that many recording studios remain closed and live performances have been largely put on ice.  The Musicians’ Union recently found that 20 percent of UK musicians fear the coronavirus crisis will mark the end of their professional careers.

Then, the text emphasizes the substantial revenue that music streaming produces, before stating that artists and other creators “shouldn’t have to rely on Government support, and shouldn’t be struggling to survive.”

To fix the problem, Keep Music Alive’s team indicates that steps must be taken to assure that the music industry’s “flow of money is transparent and fair for the whole music ecosystem.”

In this vein, the campaign closes by calling on the UK government – and specifically Secretary of State for Digital, Culture, Media and Sport Oliver Dowden – “to urgently undertake a review of streaming.”

At the time of this piece’s writing, over 3,340 individuals had backed the Musicians’ Union and the Ivors Academy’s petition.

In late March, Digital Music News was first to report that several dissatisfied artists had started a petition of their own, demanding, in no uncertain terms, that Spotify permanently triple its per-stream payments. Thus far, about 2,000 persons have rallied behind the cause.

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Yesterday, Prime Minister Boris Johnson outlined a three-step plan to gradually reopen the United Kingdom’s economy while minimizing new COVID-19 cases and treating those who’ve already tested positive.

To date, UK medical professionals have diagnosed over 223,000 COVID-19 infections, and more than 32,000 residents have perished due to complications from the disease.

Record Store Day Isn’t Getting Cancelled In Britain — Here’s the New Plan

photo: Jamakassi

Record Store Day UK organizers are preparing to carry out their much-anticipated event while also adhering to social-distancing guidelines and assuring the safety of both employees and customers.

Record Store Day UK (RSD UK) planners revealed their updated plans earlier today. Instead of taking place on June 20th, as was previously expected, Record Store Day UK will be split up across three Saturdays: August 29th, September 26th, and October 24th.

In the aforementioned plans, organizers indicated that the three-part Record Store Day UK schedule will enable as many stores as possible to participate, presumably while assuring the wellbeing of attendees. Moreover, the statement noted that planners are taking steps, based upon government recommendations, to assure that RSD UK celebrations “are as socially responsible and safe for all involved as possible.”

The message closed by recognizing the fluidity of the COVID-19 pandemic and corresponding preventative measures, besides emphasizing that additional updates will be provided: “We are aware that this is an ever-changing situation that brings new challenges every day. Please check for updates.”

The UK’s coronavirus-related lockdown measures will remain in place until at least May 7th; government officials are expected to evaluate the situation and make a decision in the near future. On Monday, UK Prime Minister Boris Johnson returned to work after a tough battle with COVID-19.

To date, UK medical professionals have diagnosed over 165,000 COVID-19 cases, and more than 26,000 residents have perished as a result of complications from the disease.

Early social media responses to Record Store Day UK’s new plan are mixed, and not a few fans are voicing their dissatisfaction. “Yeah this is a bit mad… Why not just put the titles up for sale on indie record shops in June as planned if going to the actual store is not possible,” wrote one individual.

Another person tweeted, “This is a terrible idea. Just make it an online version this year so that everyone can stay safe. Three days? Come on…”

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An updated list of exclusive RSD UK releases (and their corresponding stores) will be published next month.

Apple Faces New Litigation for Running a ‘Massive Music Piracy Operation’

Apple has been named in another sweeping copyright-infringement lawsuit, which alleges that the California tech company is running a “massive music piracy operation” on iTunes.

The trustee of Harold Arlen (a prominent 20th century composer widely known for crafting “Over the Rainbow”), SA Music (a publishing company founded by Harold Arlen’s son), Julia Riva (the granddaughter and representative of “That’s Amore” writer Harry Warren), and the Ray Henderson Music Company (representing the namesake songwriter), among others, submitted the complaint to the U.S. District Court for the Northern District of California.

Besides Apple, the case’s defendants include a two-employee Amersham, Buckinghamshire, United Kingdom, company called Pickwick Group, which, according to its website, specializes in selling and distributing popular (older) music. Pickwick Australia is, presumably, one of Pickwick Group’s entities in Australia, while the final defendant, named Mastercorp Pty Ltd, is linked to “Pickwick Record Label’s” YouTube page.

As was also the case in a similar lawsuit filed earlier this month (against Apple and another UK company that appears to reissue old music on the side), once again by the estates of Arlen, Warren, and Henderson, the plaintiffs claim that the “Defendants have failed to obtain any license that would authorize them to reproduce, distribute, or sell the recordings” that they allege are being infringed upon and illegally profited from.

The filing indicates that Pickwick has provided Apple with “over 2,000 pirated recordings,” which are being sold in the iTunes store presently, albeit with slightly modified cover art.

After calling the alleged piracy “flagrant,” the plaintiffs state that the case’s defendants “are nothing more than modern tape pirates.”

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Until late 2011, UK sound recordings were protected by copyright for 50 years after their initial date of publication; EU Directive 2011/77 EU, however, extended the copyright-protection period to 70 years after the initial publication—still far less than the protection period in the United States.

Thus, while the music of Harold Arlen and the other plaintiffs is part of the UK public domain, the legal right of UK entities to distribute it to companies like Apple, as well as the matter of mechanical royalties, are less clear.

At the time of this writing, Apple hadn’t commented publicly on this newest copyright-infringement lawsuit.

RIAA Strikes Back After Spinrilla Accusations of False DMCA Takedown Notices

The Recording Industry Association of America (RIAA) is firing back against claims that it falsely issued DMCA copyright-infringement notices. 

About one week ago, Digital Music News reported that Spinrilla had filed suit against the RIAA over a series of allegedly baseless DMCA copyright-infringement notices. Spinrilla claimed that said notices distracted employees and ate up valuable resources, in addition to harming some innocent users (whose profiles were accidentally suspended or banned as a result of the orders). 

Now, in a new court filing, the RIAA stated that it didn’t issue false DMCA notices to Spinrilla, and that the infringement inquiries were entirely warranted. Besides attempting to dismiss Spinrilla’s case―by saying that the argument “fails to allege the bare minimum fact” demanded under the cited law―the RIAA attempted to cast doubt upon several of the most significant facets of Spinrilla’s argument. 

Specifically, the RIAA indicated that Spinrilla’s suit centers on a single DMCA notice of the “over a thousand infringing files” it took issue with, and that this pillar of their case “is insufficient to state a claim because it is based on nothing more than pure conjecture.” 

The RIAA also pursued the dismissal of Spinrilla’s case because the company never “removed or disabled access to the sole audio file it identifies” or suffered the damages associated with doing so. In other words, they never complied with the DMCA notice, so they couldn’t have lost money or resources from it. 

Finally, the filing emphasized that Spinrilla and the RIAA are engaged in another, entirely separate lawsuit and alleged that this newest filing “is an obvious and baseless attempt to draw the Court’s attention” from the initial case. 

Filed in 2017 by the Big Three record labels (with support from the RIAA), the legal complaint pertains to alleged large-scale copyright-infringement on Spinrilla, and an alleged willingness on the part of the company’s executives to let users freely post protected works.

Assuming that a judge allows Spinrilla’s false takedown notice lawsuit to proceed, the matter will likely require more time than usual to make its way through court, given the widespread legal-system delays stemming from the coronavirus (COVID-19) pandemic.

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French Royalty Society SACEM Announces $6.6 Million Coronavirus Relief Fund

French royalty collection society SACEM has established a $6.6 million relief fund to support its members throughout the coronavirus (COVID-19) pandemic.

SACEM’s board of directors met on Thursday, March 26th, to create the fund and a strategy for helping composers, songwriters, and music publishers. The $6.62 million in aid will be distributed on the basis of need, though it’s unclear at this time how members’ respective economic strain will be evaluated. SACEM indicated that it will deliver three support amounts, depending on each individual’s financial status: $1,655 (€1,500), $3,309 (€3,000), and $5,516 (€5,000).

SACEM also emphasized the plight of copyright holders during the COVID-19 crisis, given that these persons are compensated only after their works are licensed by third parties. In fairness, it should be noted that frontline artists, who often rely on live performance income, are probably having an even more difficult time during this crisis.

Next, SACEM, which was founded in 1851, unveiled a $1.1 million (€1,000,000) increase to its existing publisher-assistance fund.

And finally, the cited statement noted that SACEM executives will soon conduct an in-depth study of the effect that the coronavirus is having on members, and that additional aid initiatives may come in the survey’s wake.

About two weeks back, French government officials announced a $50 billion (€45 billion) stimulus package, which contains support provisions for lenders, small businesses, individuals, and others.

Last Wednesday, IMPALA, one of Europe’s foremost independent music company associations, crafted a 10-step crisis management plan to assist European governments, the European Union, and companies in minimizing the fiscal effects of the coronavirus. Similarly, the UK’s Music Producers Guild (MPG) warned that its members are losing approximately 70 percent of their income because of the pandemic.

Major stimulus packages, including cash payments and extended unemployment benefits, have proven useful for musicians and music industry professionals during the trying last month. So too have charitable contributions and support funds from organizations and individuals, including the Recording Academy and MusiCaresSongtradrHelp Musicians, and an array of other entities.

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Help Musicians Is Sending £500 Checks to British Musicians — Here’s How to Apply

Help Musicians, a near-century-old charitable organization that supports artists during times of financial difficulty, is offering £500 ($610.12) checks to musicians who’ve been impacted by the coronavirus (COVID-19) pandemic.

Compensation will be dispersed from the Coronavirus Financial Hardship Fund, and musicians who’re “suffering significant financial hardship” can apply for aid by filling out an online form.  Help Musicians has set aside £5 million (roughly $6 million) for the charitable undertaking.

The application’s questions appear relatively straightforward; basic eligibility inquiries, including one’s age, citizenship status, musical capabilities, and more can be answered with a simple click. Additional questions and a request for proof of high-level musical skill, either through a resume or video footage, follow.

Help Musicians will inform applicants of their acceptance or denial in 10 or fewer days, and funds will be transferred via direct deposit into approved individuals’ accounts. Artists can apply for the £500 Coronavirus Financial Hardship payment only once, and similarly, each UK musician is eligible to receive just one payment from the support program.

Help Musicians is among several organizations that are assisting artists amid the coronavirus pandemic. The Music Producers Guild (MPG) called for the government to distribute support payments to music technicians and producers, and earlier today, Prime Minister Boris Johnson announced that freelance workers will be eligible to receive 80 percent of their monthly salary until the country resumes normal operations.

Stateside, the Senate’s colossal stimulus package sets aside funds for an array of freelance and gig workers, including musicians; the House will vote on the legislation tomorrow. The Recording Academy and MusiCares, Rihanna, and Spotify, to name some, have made multimillion-dollar donations to coronavirus relief efforts.

In other encouraging coronavirus news, a veteran epidemiologist, Neil Ferguson, indicated today that the UK will likely suffer far fewer COVID-19 casualties than he initially anticipated. Last week, the professor painted quite a grim picture of the situation, though he’s since come to believe that the crisis is manageable.

Also Read:  Coronavirus Stimulus Check Calculator — How Much Will You Get?

Music Producers In Britain Are Losing 70% of Their Income, MPG Report Claims

According to a report from the United Kingdom’s Music Producers Guild (MPG), domestic music producers are losing approximately 70 percent of their income—and facing dire financial straits—because of the coronavirus (COVID-19) pandemic.

The study found that UK producers and recording engineers lost an average of about $4,000 (£3,300) in earnings during March, before predicting that this figure will rise to approximately $5,200 (£4,300) next month. More pressingly, over 50 percent of surveyed individuals said that they will default on their rent or mortgage bills in three or fewer months unless the government promptly provides aid.

MPG’s analysis also shed light upon the financial impact the coronavirus pandemic is having on UK recording studios, all of which have closed their doors to comply with lockdown orders.

Earlier this week, UK Prime Minister Boris Johnson announced that residents will be subjected to a three-week lockdown in an effort to curb the coronavirus’s spread. At the end of the three weeks (on April 13th), government officials will review the situation before deciding to lift or extend the emergency measures; some residents are already disobeying the new rules.

To date, UK medical professionals have diagnosed nearly 12,000 COVID-19 cases, which have resulted in over 575 deaths. As in the United States and elsewhere, the UK’s coronavirus infection figures have increased dramatically as of late, due to tests becoming more widely available.

Recent UK COVID-19 headlines haven’t been completely negative, however.

Just hours ago, Chancellor Rishi Sunak announced that self-employed workers in the UK will have the opportunity to apply for unemployment benefits, which will provide 80 percent of monthly income (up to £2,500) in a lump sum as early as June. Last week, Prime Minister Johnson’s government revealed that UK employees who draw a salary will be eligible for similar payments.

Also Read:  Taylor Swift Declared Best-Selling Global Artist of 2019

It’s unclear whether this support will arrive quickly enough for producers, engineers, and other music industry professionals to avoid large-scale financial difficulties, however.

Trio Mandili – Apareka lyrics

Zetsas shakheneo ap’arek’av,
Mtvare datvisjvrisk’en it’oleba,
Kalav shav tvalt raad map’arebav,
Anamts ch’erkhoshi rad miqolebav?!
Dghes me shen sts’orperi viknebio,
Ghame gavit’anat saubarit.
Kalav, nu amiri pikrebio,
Mamshord gaigone naubari!
Mamshord gaigone naubari!
Zetsa uk’etsia varsk’vlavt pardas,
Mtvarets gats’eula datvisjvrisk’en,
Vazhav, sad ts’akhvedi, aghar schankhar,
Net’av, shen sts’orpersamts damitsdide.
Ghame ut’ekhia mat saubars,
Dila gatenebul namiani,
Rizhrazhs arqiani botla uqvars,
Botla nach’relian-sasmliani,
Botla nach’relian-sasmliani.
Sts’orperm mout’ana botlit araq,
Dilam shuadghisk’en gaits’ia,
K’atsma qants’it sasmel gadatsala,
Mere eshmak’urad chaitsina.
Kalma luk’ma mistsa tav dakhara,
K’idev erti stkvio khevsurisa,
Sasmelm k’atsis goni gadapara,
Tanats is sts’orperi gverds uzis da,
Tanats is sts’orperi gverds uzis da.

“Raebs vazrob ghmertma mariskhas da…”
Shertskhva, gadaek’ra sakhadis per,
Nela gadavida datvisjvars da,
Bilik’s gadauqva khakhmat’isk’en.

Ezhel – Şehrimin Tadı lyrics

[Verse 1]
Ankara ayazı ruhumu keser
Bi’ cebimde yok kapital
Bi’ cebimde kenevir tohumu
Ayrancı, Cebeci, Kennedy yokuşu
Kaybettim gene şu yolumu
Kafam taşak gibi karnımız aç!
N’apsak şimdi? Süper marketten çalsak bi’ şey;
Sosis ve salam!
Yerim, kafam düşer tekrar, tekrar ot ister canım
Ah, polisten kaçın! (Bugy)
Rap’in pavyonunda olurum Çubuklu Yaşar
Manita tutulur bana, onu da öpmemem lüzumsuz kaçar
Atar atar gider, bebeler bebeler
Takılır gecelerde, maymunluk yapar
Gözü kızıl, gözü kara bebek
Çözüp durdum, çözüm para demek
O da bana ve de sana gerek
Salak bebelerde karakter eksik
Daha hanginizi adam edek?
Yanaşır yılışık bahane seks
Soyup soyar seni atar eve
Yanında viski ve vodka ve afgan var hepsinin tadı nefis

Karanlık çöktüğünde koktuğunda kömür sokak
Şehrimin tadı ağzımda yine; is, pas, kir, kömür, plastik, çöplük, lastik, egzoz, esrar
Karanlık çöktüğünde koktuğunda kömür sokak
Şehrimin tadı ağzımda yine; is, pas, kir, kömür, plastik, çöplük, lastik, egzoz, esrar
İs, pas, kir, kömür, plastik, çöplük, lastik, egzoz, esrar
İs, pas, kir, kömür, plastik, çöplük, lastik, egzoz, esrar
İs, pas, kir, kömür, plastik, çöplük, lastik, egzoz, esrar
İs, pas, kir, kömür

[Verse 2]
Tüm şehir bi’ pavyon ve bizim paramız yok
Şükür ki karnımız tok, şansımız çok olur elimiz floş
Sadece dirsekten aşağımız bronz
Kışımız soğuk olur, kırımız boz
Kızımız hoş olur, hızlıdır çok
Denizi var ama kıyısı yok
Kuyumu kaz, ister ki kuyruğuma bas
Kuyunuz kafama kuru, a basınız tuzunuz kuruda kurunuz yaş
Suçluluk duygunuz surata yansır, bırakın yansın
Kıralım kafa
Ben de sözde kralım la’, kralım lafta
İnceyi anla, İncek’i İncesu’dan ayıran sistemi sik’im
Hep size, hep size lan, biz de isteriz bi’ şey
Gençlerim işsiz de patronlar sizken sikeyim işi
Kendi patronum benim, takım elbisemse kapşonum, berem
Metropolerinde hapsolur gelen
Ghettolar evinse hep sonun beter
Ketum ol bebem
Duyarlar, işine sokarlar çomak
Çok ahkam kesenler çıkarlar korkak
Hiç emek vermeden çıkarlar ortak
Sen zannediyo’ken sigara ortak
Sonuna seni de tokatlar sokak
Konular sorunlar bok atmak kolay
Kokarken sokaklar düşersin boka
İs, pas, kir, kömürde yaşarsın boşa

Karanlık çöktüğünde koktuğunda kömür sokak
Şehrimin tadı ağzımda yine; is, pas, kir, kömür, plastik, çöplük, lastik, egzoz, esrar
Karanlık çöktüğünde koktuğunda kömür sokak
Şehrimin tadı ağzımda yine; is, pas, kir, kömür, plastik, çöplük, lastik, egzoz, esrar
İs, pas, kir, kömür, plastik, çöplük, lastik, egzoz, esrar
İs, pas, kir, kömür, plastik, çöplük, lastik, egzoz, esrar
İs, pas, kir, kömür, plastik, çöplük, lastik, egzoz, esrar
İs, pas, kir, kömür

“How” Vybz Kartel Roast Popcaan In New Song: Listen

Vybz Kartel quietly disses Popcaan on his new song “How” and barely anyone noticed.

This is the second song that Kartel released this week after dropping a new joint dedicated to his mother on Monday. Recently, the Gazanation deejay has been quietly taking shots his former protege Popcaan who he previously ousted as being a disloyal member of the Gaza over his alignment with Drake. In one of his recent songs, Kartel accused the Unruly Boss of stealing some of his styles and now on this new Dunwell Productions-produced single, he calls him bad mind.

“Judas by time you say a who that / Back fly go Cuba, wat time now Muller / Time fi you stop watch man give thanks for what you have / Red eye will blind yo or make man wine yo / How yo fi badmind yo friend wa the bloodclat do them… / Cut them off like Gillette / How yo fi badmind yo friend unni fi move and go weh / Give them a spinners with six shots Russian Roulette / Bout yo rate me yo no rate me talk yo a talk / But mi naan hear nutten just blah blah blah,” Vybz Kartel deejay over a dancehall beat.

In the lyrics, Kartel is saying that Popcaan badmind (envy) him for the things he achieved and then always talk about how much he rates (respect) Vybz Kartel, but now him Kartel stop listening to all of that and sees him for what he really is, badmind and disloyal.

During an interview back in July in the UK, Popcaan opened up about the hate that he has been getting from Vybz Kartel and the rest of the Gazanation fan base which makes up more than half the dancehall fans population in his opinion. Poppy also said that he learned from the hate that he has been experiencing and that is helping him stay on top.

“Since I’ve been around Vybz Kartel like a lot of people use to hate Vybz Kartel but he stayed on top and I learn that from him,” Popcaan explains. “That is why if Vybz Kartel hate Popcaan today I will forever be on top because I learn that from him.”

Listen Popcaan New Conscious Single “Family”

Popcaan drop a conscious new single titled “Family,” produced by Delly Ranx & PMGJA.

The track is featured on the new Cotton Swab Riddim and features Popcaan calling out some fake people around him. “Mi nuh know if heaven is real / But mi know fi a fact a no every man real / Some boi heart dutty not clean / Dem nuh want see a next yout livin’ in the hills / To every evil demon / Dem can’t stop mi nor Dre Island,” Popcaan deejay over the Cotton Swab dancehall beat.

Popcaan has a chance to create history this month by winning a third straight MOBO Award for Best Reggae Act in the UK. The Unruly Boss deejay won the award for the past two years, but this year he has stiff competition from the likes of Alkaline, Aidonia, Damian Marley, and Chronixx.

Yo Gotti – Around the World Lyrics

[Intro: Children Singing]
Lala la la lala la la la
Lala la la lala la la la
Lala la la lala la la la
Lala la la lala la la la

[Chorus: Children & Yo Gotti]
I been ’round the world
Reppin’ where I’m from (where I’m from)
Right back to my hood
Right back to the slums
Right back to my hood
Right back to my, where I’m from
Right back to the Crest
I been ’round the world
Reppin’ where I’m from (where I’m from)
Right back to my trap
Right back to my slums

[Verse 1: Yo Gotti]
I just left Dubai
I just left Hawai’i
I just left, I just left NY
Headed to M-I-A, hey
I just left the bank
Headed to LA
I just left all my dogs a plate
Put ’em on a plane
Passport, I just left UK
Hustlin’ out the States
I got weight
Yah they call it freight
Hood call it yay, yay
I can prolly say that I ain’t never took the stand
My lil, Asian bitch she do my feet she from Japan (ayy)

[Chorus: Yo Gotti & Children]
I been ’round the world
Reppin’ where I’m from (where I’m from)
Right back to my hood
Right back to the slums
Right back to my hood
Right back to my gun
Right back to the Crest
Right back to my bunk

[Verse 2: Yo Gotti]
Where you from Gotti (Gotti)
Why your hoes exotic (why)
Why your car foreign (skrt skrt)
What your jewelry doin’ [?]
What your fashion be
Bitch why you askin’ me (huh)
‘Cause you a drug dealer
Why you look like fashion week
This outfit a half a brick and they come from Milan
I can’t rock no skinnies, it won’t hold my gun
I got a Chinese bitch a Chinese Uzi
Say her favorite rapper Lil Uzi
Told her I’ma put her on to Lil Boosie
Introduce her to the gangsta music

[Chorus: Yo Gotti]
I been ’round the world
Rappers and their drug life
2Pac, Outlawz, yah this Thug Life

[Chorus: Yo Gotti & Children]
I been ’round the world
Reppin’ where I’m from (where I’m from)
Right back to my hood
Right back to the slums
Right back to my hood
Right back to my gun
Right back to the Crest
Right back to my bunk

[Outro: Yo Gotti & Children]
Lala la la lala la la la
Lala la la lala la la la
Lala la la lala la la la
Lala la la lala la la la
I been ’round the world
Reppin’ where I’m from (where I’m from)
Right back to my hood
Right back to the slums
Right back to my hood
Right back to my gun
Right back to the Crest
Right back to my bunk

Popcaan Drops New Song “Can’t Box” Shows Off Expensive Jewelry

Popcaan sends a clear message to his enemies in his new single “Nuh Bwoy Can’t Box.”

The Unruly Boss dropped the new gangsta anthem last night and took a moment to show off his pricey jewelry collection. The gritty single is featured on the Panic Riddim, produced by JAM 2 Records and DRE Swade. “If bwoy diss me in a day mi naan go kill them night / Same place deso him a loose him life / Bombohole head buss off like a f**king sprite, unruly / No pu**y cyan diss mi pon god earth, no / Unless me bloodclat hand naan work / Mi guns and mi killy them alert,” Popcaan spits.

Popcaan also took the opportunity to show off his expensive watches and chains including a massive Unruly chain. Poppy has been having a great year and has a chance to make history at next month’s MOBO Awards in the UK if wins. The “Party Shot” deejay is going up against artists like Damian “Jr. Gong” Marley, Aidonia, Chronixx, and his arch nemesis Alkaline. Popcaan won the MOBO award for Best Reggae Act for the past two years and this year could be his third straight year.

#popcaan showing off his jewelry collection

A post shared by DancehallHipHop (@dancehallhiphop) on Oct 20, 2017 at 4:56pm PDT

Alkaline Is As Big As Popcaan Internationally Says Producer Lee Milla

Is Alkaline as big as Popcaan on the international scene? Dancehall producer Lee Milla thinks so.

Since breaking onto the scene, Alkaline has had a big rivalry with former Gaza prefect Popcaan, and this year that beef reached an all-time high with diss tracks coming from both sides. Both artists are arguably among the top five deejays in dancehall currently, so the argument is who is bigger internationally. This debate is going on right now and while fans of both sides think that their artist has the edges.

Lee Milla, who has produced songs for Vybz Kartel, is now producing songs for Alkaline, Mavado and Jahmiel. The beat maker thinks that the Vendetta boss is definitely as big as Popcaan globally. Speaking with Anthony Miller on ER last week, Milla was asked what direction is the artist currently taking his career. “As you can see from the year start he has been doing a lot of international collabs so obviously a international him thing deh,” Lee Milla said.

Anthony Miller then suggested that Alkaline is not doing it internationally on the same level as Popcaan while saying that Popcaan has the edge. “I wouldn’t say that,” Lee Milla responded. Poppy has been linked with Drake and has collaborated with international acts like Young Thug and UK rapper Giggs. Alkaline recently collaborated with French Montana on his new album “Jungle Rules.”

Elton John – Philadelphia Freedom lyrics

Music by elton john
Lyrics by bernie taupin
Released as a uk single in february, 1975

I used to be a rolling stone
You know if the cause was right
Id leave to find the answer on the road
I used to be a heart beating for someone
But the times have changed
The less I say the more my work gets done

’cause I live and breathe this philadelphia freedom
From the day that I was born Ive waved the flag
Philadelphia freedom took me knee-high to a man
Yeah gave me peace of mind my daddy never had

Oh philadelphia freedom shine on me, I love you
Shine a light through the eyes of the ones left behind
Shine a light shine a light
Shine a light wont you shine a light
Philadelphia freedom I love you, yes I do

If you choose to you can live your life alone
Some people choose the city
Some others choose the good old family home
I like living easy without family ties
Till the whippoorwill of freedom zapped me
Right between the eyes

Onyx & Dope D.O.D. – Doomsday (Shotgunz In Hell Album)

[Intro: Jay Reaper]
Ey yo move mate I’m getting moody
Cause your music you don’t move me
I’m in the mood today to just shoot away
Nigga too cray Paul Mooney
Ya bitch niggas just tomb raid em
We crusade from here to UK
Like a new plague Its to late
We bring it, Doomsday

[Verse 1: Fredro Starr]
Not with the time but she a snowflake
In the bathroom taking a coke break
Doing crooked shit to get the dough straight
Fuck a jimbo we whole weight
Pushing pounds through the whole state
I got bullets in your brain just rotate
Leave a nigga body in a cold state
Rigamortis that’s when you go against niggas orders
Electric tape like Biggie thought us
The type that’ll kidnap niggas daughters
Half my niggas is brain dead
Eyes the color blood stained red
(now is not the time for fear, that comes later)
Like Bane said

[Hook: Jay Reaper]
Ey yo move mate I’m getting moody
Cause your music you don’t move me
I’m in the mood today to just shoot away
Nigga too cray Paul Mooney
Ya bitch niggas just tomb raid em
We crusade from here to UK
Like a new plague Its to late
We bring it, Doomsday

[Verse 2: Skits Vicious]
Gimmie the title I’m killin my rivals
And any beside them with evil intent
Trap it, Onyx D.O.D on it
We quick to demolish your feeble event
Read all about it we out here
Sticky and Dro fill em with holes
Vicious and Reap put em to sleep
Deadly vapors plastic tubes and respirators
Stack of paper, back to Vegas
Crack a bottle, smack a waiter
So and so they sew you up
Comatose you roasted duck
Back on the scene with a banger
Handle the heat with the hammer

[Verse 3: Sticky Fingas]
I’m still on paper fresh outta jail
No heavenly father i was raised in hell
Billy had her mother she was raised in bail
Sister around the corner selling fruit cocktails
Bitches on your knees niggas get your hands up
Whats it gonna be? either way imma bust
I’m movin overseas America is so fucked
Must’ve got drunk woke up and voted for Trump?
Its the end of the world and I’m holding a pump
Dick to your girl while she’s rolling my blunt
Drink in my hand while I’m slappin her butt
If its doomsday imma go nuts
Take you apart see what you’re made of
Playing a part, your whole life’s made up
Take out your heart, see what your brain does
Soon its death what you afraid of?

[Outro: Jay Reaper]
Ey yo move mate I’m getting moody
Cause your music you don’t move me
I’m in the mood today to just shoot away
Nigga too cray Paul Mooney
Ya bitch niggas just tomb raid em
We crusade from here to UK
Like a new plague Its to late
We bring it, Doomsday

Ace Hood – 2 Fux

( Renegade, renegade, renegade )
Uh, I wake up every morning, thank God, then I gotta get to it
I never had a role model, money was the only influence
While they was talkin’ ’bout it in the city I was really out doin’ it
Hundred bands I was 19 and the man, I knew it, okay
Thats around the time I shine had these niggas all hatin’
Same time I was grindin’ same time I was patient, you was standin’ with your hand out waitin’, yeah yeah
Imma keep it real, how it feel? I don’t give 2 fucks
Count another bag on the road I could never get enough
They wanna hang when I’m on where they were when the shit got tough
And what a nigga think about me? I don’t give 2 fucks
You don’t pay my bills, you don’t feed my kids, your opinion don’t matter
My pockets still gettin’ fatter
God damn and the last time I looked in the mirror I was starin’ at a real one
And fuck makin’ friends, where the ends at ’cause all my dogs need a million
I don’t give a fuck about poppin’ no bottles in the club
I’m focused on the money, I ain’t never going back the way I was
A lot of people asked why I drive it here then it get missin’
Sorry to my fans, I’ll be way more consistent
Haters get the middle finger, Lord be the witness, listen
Got a crib out west out in Cali when I touch down
Fired my old jeweler went and got a new jeweler made him [?]
I thinks it’s funny how they wanna be down all of a sudden young nigga gettin’ up now
Yeah, king of the city nigga, king of the state, turn beast when the sun down
I’m just really having fun now
Funny how that slick talk minimize when ya boy ’round
I just landed in the UK, in a suite with a pretty little freak sippin’ D’Ussé
Murda murda in the booth, aye
I’m a killer on the beat, increasin’ the crime rate
I need a mill, not an entrée
I need a Jay, no Beyoncé
Smoke like a choo train
Showin’ niggas how to do things
Boys biting on the flow, I changed up like a mood ring
Young nigga with a new flame
Don’t compare me to no mane
Top of the food chain, uh

Vanessa Hudgens & Ashley Tisdale – Ex’s & Oh’s (Elle King Cover)

[Verse 1]
Well, I had me a boy, turned him into a man
I showed him all the things that he didn’t understand
Whoa, and then I let him go
Now, there’s one in California who’s been cursing my name
Cause I found me a better lover in the UK
Hey, hey, until I made my getaway

[Pre-Chorus 1]
One, two, three, they gonna run back to me
Cause I’m the best baby that they never gotta keep
One, two, three, they gonna run back to me
They always wanna come, but they never wanna leave

[Chorus 1]
Ex’s and the oh, oh, oh’s they haunt me
Like ghosts they want me to make ’em O
They won’t let go
Ex’s and oh’s

[Verse 2]
I had a summer lover down in New Orleans
Kept him warm in the winter, left him frozen in the spring
My, my, how the seasons go by
I get high, and I love to get low
So the hearts keep breaking, and the heads just roll
You know that’s how the story goes

[Pre-Chorus 1]
One, two, three, they gonna run back to me
Cause I’m the best baby that they never gotta keep
One, two, three, they gonna run back to me
They always wanna come, but they never wanna leave

[Chorus 2]
Ex’s and the oh, oh, oh’s they haunt me
Like ghosts they want me to make ’em O
They won’t let go
Ex’s and the oh, oh, oh’s they haunt me
Like ghosts they want me to make ’em O
They won’t let go
Ex’s and oh’s

[Pre-Chorus 2]
One, two, three, they gonna run back to me
Climbing over mountains and a-sailing over seas
One, two, three, they gonna run back to me
They always wanna come, but they never wanna leave

[Chorus 2]
My ex’s and the oh, oh, oh’s they haunt me
Like ghosts they want me to make ‘em O
They won’t let go
Ex’s and the oh, oh, oh’s they haunt me
Like ghosts they want me to make ‘em O
They won’t let go
Ex’s and oh’s

Watsky – London Eclipse Lyrics

Come, the moon is over the sun
We’ll use the shadows to run
No one can stop us from leaving
Come, the moon is over the sun
We’ll use the shadows to run
No one can stop us from leaving

Breathing’s boring
What a stupid task it’s
Only 8 a.m. this train’s a moving casket
Brew it black and spike your coffee with your flask
Before you leave the house each day pull on your ‘fuck you’ mask
You know that sad disguise
You know that patch of lies
Commuters pull their papers wide so folks can’t catch their eyes
We let these years of tears build up and now it’s heavy stakes
And we might drown this city if we let these levees break
So I gotta get a grip
Show ‘em I won’t let it slip
I know that what’s done is done and so that’s why it’s dumb to trip
I’m not scratching at the walls, that’s London at my fingertips
They use the news from yesterday to wrap tomorrow’s fish and chips
So you can print me on pretty, colorful paper
Right next to the psycho bitch who allegedly stabbed her neighbor
And I’ll be looking back up atcha until you’re ready to crumple me up
Oh, oh, oh


At the last eclipse, I was living as a single man
My girl’s looking through a pinhole camera
That she made out of a Pringle’s can
Pointed upwards at a gray London sky, pretending she could see the sun (the sun)
And I’m really looking right at her thinking maybe she could be the one
We could run
New York, L.A., UK, what do you say
Got no plans
Got no faith
Another new sun, gonna bring a new day
I wait to queue for the Baker loo, then I take the tube
30 minutes heading to Kent
And I’m coming straight to you with a big bouquet
We’re not anchored
We got our freedom and we can wander any path that we wanna on the planet
Damn it we don’t even need a answer
And I’m looking at all the 9 to 5ers on the train
But all the 9 to 5ers on the train are lookin at your pretty faces
Lookin at the sun that only you can see up in the Evening Standard
This could be home to me
Home could be anywhere
We could be anywhere
We could be free
I’m happy with you
If you were somewhere new
Do you think you still could be happy with me?
Timing is key and our timing was keen
And time is as slow and so why should we baby
You make me weak in the knees
We could move every weekend but only if we can agree to where
Home could be anywhere
We could be anywhere
We could be free
I’m happy with you
If you were somewhere new
Do you think you still could be happy with me?
Timing is key and our timing was keen
And time is as slow and so why should we baby
You make me weak in the knees
We could move every weekend but only if we can agree to where