Addison Rae has responded after she faced heavy backlash for not crediting the mostly Black creators of dances she recently performed on The Tonight Show.

Rae, a social media star born Addison Easterling, told TMZ it was not her intention to snub those who brainstormed the moves.

“I think they were all credited in the original YouTube posting, but it’s kinda hard to credit during the show,” she said. “But they all know that I love them so much and I mean, I support all of them so much. And hopefully one day we can all meet up and dance together.”

The creators of the dances are listed in the credits of the YouTube clip from the show but were not identified on the show or within the video on YouTube.

Asked if host Jimmy Fallon or anyone from The Tonight Show had been in contact over the heat she was taking, Rae said the show was discussing the incident “behind the scenes.” Dance creators such as @jazlynebaybee, @flyboyfu, @yvnggprince and @theemyanicole are listed in the Tonight Show video.

“They deserve all the credit because they came up with these amazing trends,” she said.

This article was originally published by The Hollywood Reporter.

Grammy winners Beyoncé and Blue Ivy had a carefree beach day in Malibu on Wednesday (March 31), and Bey shared some rare family photos.

The “Brown Skin Girl” mother-daughter duo made history at the 2021 Grammy Awards, when Queen Bey broke the record for most Grammys won by a woman (and vocalist of any gender) and Blue, 9, became the second-youngest person to win a Grammy. The two took a much-deserved break at Nobu in Malibu, Calif., bringing back the duck face with their swaggy glasses in a new photo series on Bey’s Instagram.

Although Jay-Z was absent from the fam outing, 3-year-old twins Rumi and Sir appear very grown up while walking on the beach near the water in subsequent pictures.

The “Black Parade” singer also shared two separate carousels of her ‘fit pics, flexing her denim two-piece set, white ribbed crop top, giant diamond necklace, embellished bowtie pumps and black Chanel purse. She even posts up by a wall completely stocked with Jay’s Armand De Brignac (also known as Ace of Spades) champagne. (Moet Hennessy recently bought a 50% stake in the brand.)

See Beyoncé’s new pics here, here and here.

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In a new Instagram post, Britney Spears addresses Framing Britney Spears, the buzzy documentary about her time in the spotlight, saying she “didn’t watch” the New York Times doc but that she was “embarrassed by the light they put me in.”

This is the first time Spears has directly addressed the doc, which debuted last month on FX and Hulu and brought negative attention to the conservatorship she’s been under since she was involuntarily committed to the hospital more than a decade ago.

“I didn’t watch the documentary but from what I did see of it I was embarrassed by the light they put me in,” Spears wrote Tuesday (March 30) on Instagram. “I cried for two weeks and well …. I still cry sometimes !!!! I do what I can in my own spirituality with myself to try and keep my own joy … love … and happiness !!!! Every day dancing brings me joy !!! I’m not here to be perfect … perfect is boring … I’m here to pass on kindness !!!!”

Her new message was posted alongside a video of Spears dancing to Aerosmith’s 1994 hit “Crazy.” “My life has always been very speculated … watched … and judged really my whole life !!! For my sanity I need to dance to [Aerosmith frontman Steven Tyler] every night of my life to feel wild and human and alive !!!”

Also in her caption, Spears opened up about how damaging it can be to live your life in the spotlight. “I have been exposed my whole life performing in front of people !!! It takes a lot of strength to TRUST the universe with your real vulnerability cause I’ve always been so judged… insulted… and embarrassed by the media… and I still am till this day!!!!” she wrote alongside three thumbs-down emojis. “As the world keeps on turning and life goes on we still remain so fragile and sensitive as people !!!”

Watch Spears’ full Instagram video here and stream Framing Britney Spears here on Hulu.

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Justin Bieber spoke to the controversial addition of the “MLK Interlude” in his latest album Justice, which debuted at No. 1 on the Billboard 200 this week.

While announcing his sixth studio album in late February, the pop superstar made his intentions clear about why he wanted to deliver Justice and how he was playing “a small part” in discussing what justice looks like, especially in the year following the killings of George Floyd, Breonna Taylor and many more Black Americans that fueled nationwide protests and conversations about systemic racism.

“I know that I cannot simply solve injustice by making music, but I do know that if we all do our part by using our gifts to serve this planet, and each other, that we are that much closer to being united,” he wrote on his socials. “This is me doing a small part. My part. I want to continue the conversation of what justice looks like so we can continue to heal.”

Justice continued Bieber’s successful streak when he secured his eighth No. 1 LP and “Peaches,” featuring Daniel Caesar and Giveon, debuted at No. 1 on the Billboard Hot 100, making him the first solo male artist to debut at the top of both charts simultaneously.

Kristal Terrell, one of the co-founders of Bieber Nation, the first JB-dedicated club on Clubhouse, asked Bieber himself in his first-ever Clubhouse room on Tuesday (March 30) about how he believed music could continue to play a role in social advocacy. But the 27-year-old singer took a minute to reflect on the part of the album that speaks volumes to what Bieber believes to be a profound example of someone who would die for what they stand for — but it was also a part of the album he discovered online that music critics didn’t understand how it fit.

“Being Canadian,… they didn’t teach us about Black history. It was just not a part of our education system,” he told the nearly 8,000 people in the Clubhouse room. “I think for me, coming from Canada and being uneducated and making insensitive jokes when I was a kid and being insensitive and being honestly just a part of the problem because I just didn’t know better. For me to have this platform to just share this raw moment of Martin Luther King in a time where he knew he was going to die for what he was standing up for.”

Bieber paraphrased the first line of the nearly 2-minute audio clip from Reverend Dr. Martin Luther King, Jr.’s “But If Not” sermon that he gave at the Ebenezer Baptist Church in Atlanta, Georgia in November 1967: “I say to you this morning, that if you have never found something so dear and so precious to you that you will die for it, then you aren’t fit to live.” But for the singer, he said he was willing to endure “as much hate by putting that on the album” for the bigger purpose it serves in speaking to what justice looks like.

He later rejected the common critique that he was attempting to be a “white savior” trying to solve injustices simply by making Justice, but that the purpose of including MLKJ’s sermon in his album was to “amplify” the late civil rights leader’s “incredibly, touching speech.” MLKJ’s words also open the entire album, with the first five seconds of “2 Much” pulling fuzzy audio of him reciting “Injustice anywhere is a threat to justice everywhere” from his infamous April 1963 “Letter from Birmingham Jail.” Other music critics also ridiculed his decision to place the “MLK Interlude” directly before his Dominic Fike-assisted “Die For You,” a love song to his wife Hailey Bieber, but the singer clarifies that he’s in no way trying to compare MLKJ’s willingness to die for justice everywhere to his own willingness to die for his significant other.

“I want to keep growing and learning about just all social injustices and what it looks like for me to be better, what it looks like for my friends to be better. And I know I have a long way to go. I love that when people are listening to my album, these conversations are coming up and they’re like, ‘Well, how is he going from Martin Luther King into a love song?’” he said. “I’m not trying to make a connection between me and Martin Luther King. That’s why I never try to talk about social injustice or I didn’t want to be the one to talk about it because I just have so much more learning to do. But I have this man who was ready to die and what he believed to be true. If I’m not willing to face some sort of ridicule or judgment of people wondering my motives or whatever that is, for me, it was a no brainer.”

Bieber’s security Lauren Walters later commented that as a Black man, he found it “very admirable” that the global sensation chose to bring awareness to “something that’s been going on in America for decades, centuries.” Walters also noted that adding the “MLK Interlude” was very important to him and his friends and family, especially because of the album’s charitable donations to The King Center as well as other organizations “that embody what justice looks like in action,” which he announced on Twitter mid-March shortly before releasing Justice. MLKJ’s daughter Bernice King eventually thanked Bieber for his support.

“For you to be the No. 1 pop star in the world to talk about these issues, it’s important,” Walters added.

Top songwriters including Emily Warren, Justin Tranter and Ross Golan are taking a stand against what they view as unfair practices in the music industry where artists and executives who did not write on a song take credits on it anyway.

On Tuesday (March 30), a group of songwriters calling itself The Pact released an open letter to the music industry asking fellow songwriters to agree to no longer give songwriter and/or publishing credit to anyone who did not “contribute to the composition without a reasonably equivalent/meaningful exchange for all the writers on the song.”

Within two hours of the letter going live, songwriters including Warren — who sources say spearheaded the effort — Tranter, Golan, Victoria Monet, Tayla Parx, Joel Little and many others signed. Collectively, those songwriters have worked with artists including Dua Lipa, Ariana Grande, Taylor Swift and more. (“Emily is the one that has really fucking led the charge here so this moment can actually happen,” Tranter tells Billboard.)

The Pact is a newly formed organization, which debuted over the weekend posting as @_the_pact on Instagram declaring it was “time to make some changes” for the betterment of songwriters.

This effort arrives when songwriters — and their catalogs — are under a brighter spotlight than ever. Investment companies like Merck Mercuriadis’ Hipgnosis are spending billions to acquire publishing catalogs (resulting in a quick payday for songwriters). And last August, the Copyright Royalty Board’s proposed 44% increase for publisher and songwriter streaming royalty rates was vacated by an appeals court — a victory for DSPs including Spotify, Amazon, Pandora and YouTube.

“We are simply asking that we give credit where credit is due and only take credit where credit is earned,” U.K. songwriter Plested, who has worked with Lewis Capaldi and Little Mix, posted to Instagram after signing The Pact’s open letter.

Read the full letter below:

To whom it may concern:

The beauty of the music industry is that it operates at its best as an ecosystem. Behind most songs, there is a story of collaboration. By the time of release, a song has been touched not just by the artist, but by songwriters, producers, mixers, engineers, record labels, publishers, managers and more.

Over the last few years, there has been a growing number of artists that are demanding publishing on songs they did not write. These artists will go on to collect revenue from touring, merchandise, brand partnerships, and many other revenue streams, while the songwriters have only their publishing revenue as a means of income. This demand for publishing is often able to happen because the artist and/or their representation abuse leverage, use bully tactics and threats, and prey upon writers who may choose to give up some of their assets rather than lose the opportunity completely. Over time, this practice of artists taking publishing has become normalized; and until now, there has been no real unity within the songwriting community to fight back.

That is why we have decided to join together, in support of each other, and make a change. What we are saying is this:

This body of songwriters will not give publishing or songwriting credit to anyone who did not create or change the lyric or melody or otherwise contribute to the composition without a reasonably equivalent/meaningful exchange for all the writers on the song.

To be clear – this action is being taken for two main purposes. First and foremost, we hope that this action will protect the future “us”, the next generation of songwriters – those who believe they have no leverage and no choice but to give up something that is rightly theirs. The second purpose is to shift the rhetoric and perspective surrounding the role of a songwriter. As songwriters, we are fully aware of the importance of the artist who goes on to perform and promote the songs we write, the role of the producer who takes the song to the finish line, and the role of the label that finances the project and plans for strategy and promotion. In light of that, we are not suggesting we dip into those revenue streams, we are not asking for something we don’t deserve. We are simply asking for that respect in return. We are simply asking that the ecosystem stay in balance; we are simply asking that we not be put in positions where we are forced to give up all we have in exchange for nothing; we are simply asking that we give credit where credit is due and only take credit where credit is earned.

If we take the song out of the music industry, there is no music industry. As of today, we will no longer accept being treated like we are at the bottom of the totem pole, or be bullied into thinking that we should be making sacrifices to sit at the table. We are all in this together, and we all need each other for this wheel to keep turning. So let’s start acting like it.

Sincerely,

The Pact