Dua Lipa won a ruling Thursday (March 27) dismissing a copyright lawsuit claiming she copied her smash hit song “Levitating” from two different decades-old songs.
The case, filed in 2022 by songwriters L. Russell Brown and Sandy Linzer, accused Lipa of ripping off their 1979 song “Wiggle and Giggle All Night” and their 1980 song “Don Diablo.” The lawsuit was one of two high-profile copyright cases filed over “Levitating,” a massive hit that spent 77 weeks on the Billboard Hot 100.
In her decision, Judge Katherine Polk Failla ruled that Lipa’s song shared only generic elements with Brown and Linzer’s songs — the kind of basic musical building blocks that are not covered by federal copyright law and cannot be owned by any one songwriter.
“The court finds that a musical style, defined by plaintiffs as ‘pop with a disco feel,’ and a musical function, defined by plaintiffs to include ‘entertainment and dancing,’ cannot possibly be protectable,” the judge wrote. “To hold otherwise would be to completely foreclose the further development of music in that genre or for that purpose.”
The judge said that some of the material Brown and Linzer claimed Lipa stole — like a “patter style” featuring rapid singing of one syllable per note — had been “used for centuries” and existed in operas by Mozart and operettas by Gilbert and Sullivan. The judge said another allegedly infringing element, a rapid tempo, was also “common” and had appeared identically in “Stayin’ Alive” by the Bee Gees.
“It is possible that a ‘layperson’ could listen to portions of plaintiffs’ and defendants’ songs and hear similarities,” the judge said. “But … the similarity between the works concerns only non-copyrightable elements of the plaintiffs’ work.”
In a statement to Billboard, an attorney for Brown and Linzer said they “respectfully disagree” with the decision and would file an appeal.
“This case has always been about standing up for the enduring value of original songwriting, and we continue to believe in the strength of Mr. Brown and Mr. Linzer’s creative legacy,” attorney Jason T. Brown said. “There’s a growing disconnect between how these cases are decided — by academically analyzing briefs, bar lines, and musical notation — versus how audiences actually experience music.”
An attorney for Lipa did not immediately return a request for comment.
Released on Dua Lipa’s 2020 album Future Nostalgia, “Levitating” spent a whopping 41 weeks in the top ten of the Hot 100 — the longest ever such run for a female artist — and was later named the No. 1 Hot 100 song of 2021.
In early 2022, the star was sued over the track twice, both over accusations that she had lifted key elements from earlier songs. The first lawsuit came from a Florida reggae band named Artikal Sound System, which claimed Lipa lifted the core hook for her song from their 2015 “Live Your Life.” That case was dropped in 2023 after Lipa’s attorneys won a key early-stage ruling.
The second case came from Brown and Linzer, who alleged that Lipa had stolen the melody that starts just a few seconds into her song, when Lipa begins singing, “If you wanna run away with me…” They called it a “duplicate” of their own songs.
But in Thursday’s ruling, Judge Failla said that claim was merely over “a descending chord and the one additional note” — a “combination of two unprotectable elements” that she said are “not sufficiently numerous or original to constitute an original work entitled to copyright protection.”
In reaching that conclusion, the judge heavily cited from recent litigation against Ed Sheeran over accusations that his “Thinking Out Loud” infringed Marvin Gaye‘s “Let’s Get It On.” That case also ended with a ruling that Sheeran had used only common, unprotectible elements.
Suge Knight openly criticized Ye (formerly Kanye West) for his comments about Jay-Z and Beyoncé’s kids earlier this month during an explosive X tirade.
Knight joined the Art of Dialogue podcast earlier this week, where he targeted West and put the embattled Chicago rapper on blast for his flagrant remarks about Jay and Bey’s seven-year-old twins.
“I need to holla at Kanye. We never, never disrespect no one’s kids,” he said. “You don’t talk about Jay and Beyoncé’s children and call them r——d. That’s what we won’t do. It’s real consequences for those type of actions.”
The former Death Row boss continued: “I hold people in hip-hop, people in our community, to higher standards than that. We came a long way as Black people, as slaves, not to protect people’s kids or people that are disabled. That’s not funny to me, not one bit. He needs an old-fashioned ass-whooping.”
Knight went as far as calling the rapper a “b—h” for his comments about Rumi and Sir Carter earlier in March, in which West questioned the twins’ mental abilities and made unsubstantiated claims about in vitro fertilization (IVF). West later took down the post claiming that there was a possibility his X account would have been deactivated for allowing it to stay up.
TMZ later caught up with Beyoncé’s father, Matthew Knowles, to get his reaction to West’s offensive comments. “People pay a price for being stupid, especially in the music industry,” he said on March 21. “I’m hopeful Kanye gets the type of help he needs, in terms of mental health.”
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-03-27 20:18:192025-03-27 20:18:19Suge Knight Criticizes Ye for His Comments About Jay-Z & Beyoncé’s Children
All products and services featured are independently chosen by editors. However, Billboard may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes.
Following the announcements of Anitta and YG, True Religion is now tapping Sexxy Red for their latest Own Your True campaign. Aiming to highlight “pop culture icons who are unafraid to embrace their true selves,” the brand had Red showcase their spring 2025 collection, including their signature denim, statement velour tracksuits and summer-ready low rise shorts.
True Religion’s spring 2025 collection pays homage to decades of influence in both streetwear and music, incorporating oversized silhouettes, distressed denim, and statement-making camo prints. With a nod to ‘90s hip-hop influences, the women’s collection features elevated takes on the brand’s signature styles, including heritage stitching and bold graphics.
“Fashion is all about showing people who you really are,” says Sexyy Red in a statement. “True Religion has always been about being bold and staying real, and I felt dat. I’m excited to be a part of this campaign and to keep inspiring my supporters to be themselves, no matter what nobody says.”
The new campaign comes on the heels of another big announcement for the “Get It Sexyy” rapper — at the start of March, Variety reported that Red had joined the cast of the forthcoming Rolling Loud comedy fim, alongside fellow hip-hop stars Ty Dolla $ign and Ski Mask The Slump God, as well as Henry Winkler, Matt Rife and Owen Wilson..
The Own Your True campaign will continue to announce more collaborations and artist partnerships over the coming months. In the meantime, shop Sexxy Red’s True Religion campaign look on the brand’s site here, as well as below:
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-03-27 19:53:312025-03-27 19:53:31Sexxy Red Joins True Religion’s Own Your True Campaign: Shop the Looks
BEAT Music Fund, the dance music investment company from Armada Music Group, acquired the rights to “a large portion” of masters from DJ, producer and Turbo Recordings founder Tiga. The deal includes Tiga’s “Sunglasses at Night,” “Bugatti,” “You Gonna Want Me,” “Let’s Go Dancing” and “HAL” featuring Kölsch. BEAT previously signed catalog deals with Kevin Saunderson, Markus Schulz, Robbie Rivera, Jax Jones, Amba Shepherd, VIVa MUSiC, Sola Records, King Street Sounds, Chocolate Puma and others.
Hook, the AI-powered platform that allows users to legally remix songs by top artists while earning income from those remixes, closed an additional $3 million in funding, bringing the startup’s total funding to $6 million. This round includes new investments from Khosla Ventures, Kygo‘s Palm Tree Crew, and The Raine Group. Continued support came from existing investors including Imaginary Ventures, Steve Cohen‘s Point72 Ventures, KSHMR and Edgar Bronfman, Jr.‘s Waverley Capital. The investment will help accelerate Hook’s marketing efforts and hiring, with a focus on user acquisition.
Related
Music Nation and SoundExchange Partner to Streamline Rights Management in UAE
Japanese record label Teichiku Entertainment signed a distribution partnership with Believe for Japan and the rest of the world. Through the deal, the companies aim to expand Teichiku’s digital footprint by leveraging Believe’s global DSP network, technology and digital-first expertise to bring Japanese enka, kayōkyoku and pop music to a wider audience globally.
Indian record label and music publisher Times Music acquired Indian regional record labels Symphony Recording Co. and ARC Musicq. These are Times Music’s first acquisitions since Primary Wave Music invested in the company to speed up its growth worldwide. Symphony, described in a press release as “the undisputed leader of Tamil spiritual and devotional music,” has a catalog of more than 350 audio and 100 video albums and boasts YouTube views of nearly 2 billion, with revenue on the platform doubling in the past four years, according to the release. ARC Musicq, which has been distributed by Times Music since 2017, is a label specializing in Indian folk music and film soundtracks within the Kannada music market. ARC also boasts more than 2 billion views on YouTube, with revenue quadrupling in the last three years, according to the release.
Related
MusiCares and Amber Health Partner for Mental Health Study on Touring Artists & Crew
Independent U.S.-based K-pop label hello82 struck a partnership with One Hundred Label, the Korean entertainment company behind THE BOYZ. Under the deal, hello82 is serving as the exclusive physical distributor for the group’s album Unexpected, which was released on March 17. To support the release, hello82 is erecting immersive fan experiences at its brick and mortar fan spaces in Los Angeles and Atlanta, and at pop-up shops in major markets including New York, Chicago and San Diego throughout March. Hello82 previously signed similar deals with KQ Entertainment (ATEEZ, hikers) and FNC Entertainment (P1Harmony).
Ninja Tune struck a licensing partnership with Reactional Music, the music personalization platform allowing real-time interactive music integration in gaming, automotive and digital environments. With the deal, Ninja Tune’s labels and publishing division, Just Isn’t Music, have licensed the rights to tracks from its catalog for use in Reactional’s music personalization engine and music delivery platform. Ninja Tune’s labels include Brainfeeder, Counter Records, Technicolor, Big Dada and Foreign Family Collective, which have collectively released music by Thundercat, Bonobo, Little Dragon, Run the Jewels, ODESZA, Peggy Gou and others. Reactional’s platform is now live on Unity and Unreal Engine. It is being used by developers and creators in Europe, the United States, China and Southeast Asia.
Related
Penske Media in Talks to Open Rolling Stone Hotel and Casino in Las Vegas
ADA, the independent music distribution and artist services arm of Warner Music Group (WMG), acquired music tech startup RSDL.io, which provides automated accounting and a simplified view of multiple revenue streams for artists and labels. Founded by tech executives Mike Holmes, Jim Sella and Bill Sella and music industry players Alex Brahl (S7 Management) and songwriter-producer Shep Goodman, RSDL.io lets users facilitate payments and manage splits and recoupments and “allows for multi-level artist and contributor payout functionality and insights,” according to a press release.
EMPIRE struck a multi-year partnership with sound separation and lyric transcription technology company AudioShake under which the San Francisco-based label will use AudioShake’s stem and lyric separation technologies to create stems and lyrics for its catalog. EMPIRE will use AudioShake’s AI to produce stems for use in synch licensing, immersive formats and new music licensing models.
Related
Daniel Nigro Expands Amusement Records Partnership With UMG After Chappell Roan’s Rise
Musical AI, the AI rights management platform for music and audio, is partnering with Nashville-based artist-model platform and VST plugin First Rule to build fully-licensed AI agents and models designed to support music makers. Through the deal, Musical AI will provide licensed training data to First Rule, which will use the data to train musical agents and models aimed at assisting artists and producers. Musical AI will also provide attribution technology and payment processing “to ensure First Rule can prioritize rightsholder consent, credit, and compensation,” according to a press release. Using this data, First Rule will train its proprietary models to ensure they are able to produce high-quality results. This will allow artists and producers to train their own “Musical Essence or M.E Models on their distinctive style and approach,” then license those models to others to use in First Rule’s Co-Writer, a generative AI-powered VST plugin the company is currently building that will work in any digital audio workstation.
Sony Music Entertainment India and Tiger Baby — the Indian production company formed by filmmakers Zoya Akhtar and Reema Kagti — formed Tiger Baby Records, a joint-venture music label dedicated to fostering emerging talent. For one of its first projects, the new label has partnered with jewelry brand Tanishq for a wedding song composed by Abhishek-Ananya and performed by Poorvi Koutish. It also recently released the soundtrack for Superboys of Malegaon, a film based on the life of filmmaker Nasir Shaikh, that was composed by Sachin-Jigar and written by Javed Akhtar. Tiger Baby Records will additionally release original music curated by Ankur Tewari that will spotlight emerging artists and launch a “City Sessions” initiative with Mumbai’s Island City Studios in which singer-songwriters will be offered the opportunity to refine their craft, collaborate with established artists and more.
Related
Signed: Lynyrd Skynyrd Inks New Label Deal, Jason Mraz Strikes Neighboring Rights Pact
Universal Music Group (UMG) and HEAT — a new marketplace connecting animators, game developers and 3D artists with a trove of motion data and music — formed a collaborative initiative involving Lil Wayne and CG5 that will make licensed tracks from both artists available to game developers for the first time. Beginning May 1, Lil’ Wayne tracks “Uproar” and “GO DJ” and CG5 tracks “I See A Dreamer,” “Sleep Well,” “Let Me In” and “Dancin’” will be available through the HEAT platform, allowing game creators to integrate those tracks into their projects.
Secretly Distribution struck a global distribution deal with Invada Records, a U.K.-based independent label co-owned by musician, producer and composer Geoff Barrow (Portishead, BEAK>) and his longtime business partner Redg Weeks. Invada has released music by artists including DROKK, The KVB, Jeremy Gara (Arcade Fire), BEAK>, Divide And Dissolve, Anika, Billy Nomates, Gazelle Twin, Colin Stetson, Sleafords Mods, TVAM, Benefits and Julian Cope. It has additionally released scores for films, TV shows and video games including Stranger Things, Drive, Ex Machina, Solaris, Red Dead Redemption 2, Hannibal, Dark, Annihilation and Black Mirror.
Related
Napster Acquired By Infinite Reality for $207 Million
Sweet Relief Musicians Fund and Sweetwater launched The Hearing Health Fund at Sweet Relief Musicians Fund, which will provide support for the growing number of music professionals who face hearing-related challenges, including hearing loss and tinnitus. According to research cited in a press release, seven in 10 music venue staff are exposed to noise levels above the daily recommended limit, while only 15% reported using hearing protection on a regular basis. Through the fund, professionals can receive a free, three-part hearing screening with a certified audiologist and free Etymotic Research ER-20XS High Fidelity Earplugs. Music pros can navigate here to apply for the Hearing Health Fund.
Music technology company Audoo partnered with German performing rights society GEMA on GEMA’s music impact study, which aimed to quantify the commercial value of background music in gastronomy and retail spaces. The study used Audoo’s audio meters — or music recognition hardware — that the company had installed in hundreds of venues. Overall, it found that the use of background music increased retail sales by an average of 8% and gastronomic sales by an average of 5.4%. More information on the research can be found here.
Related
Silver Lake Completes Endeavor Acquisition, Renames It WME Group
Rhino Staging, which provides stagecraft and rigging crews across the U.S., acquired ROC Rigging, a provider of special event rigging services for entertainment, corporate and private events in the Palm Springs, Calif., area. Matt Talley, the founder/CEO of ROC Rigging, along with the company’s management team, will remain in place as the company integrates with Rhino.
UnitedMasters partnered with The Coca-Cola Company for an event to be held this month in São Paulo celebrating Brazil’s independent music scene. The two companies have also selected independent artist Alee to perform at Coke Studio at Lollapalooza Brasil, in addition to Zudizilla, who will perform on the main stage.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-03-27 19:53:292025-03-27 19:53:29The Deals: Tiga Sells Masters to Armada’s BEAT Music Fund, AI Remix Platform Hook Raises $3M
Brian Austin Green is putting MGK (formerly Machine Gun Kelly) on blast.
The Night They Came Home actor took to his Instagram Stories this week, where he shared a screenshot of a DM with the “Bloody Valentine” singer, according to People. “Stop asking when our child is gonna be born. you the FEDS 🐀👮♂️,” Kelly wrote to Green in the DM, referring to his upcoming baby with Megan Fox. “Quit calling TMZ and focus on that apology you owe me for speaking my name in public.”
“You chose the wrong one to f— with mr child actor. go back to cereal commercials,” he added. In response, Green wrote over the message, “😂😂😂😂 I didn’t know ‘child actor’ was something bad.”
“Leo, careful,” he added, in reference to Leonardo DiCaprio, another child actor. “He may be coming for you next 🤣🤣🤣🤣.”
Green, who shares sons Noah, Bodhi and Journey with ex-wife Fox has a history of sharing his opinion about MGK. “Bro. Just be honest for once in your life. Stop caring so much about how you’re perceived that you will try and drag other people,” Green reportedly wrote in February in a since-expired Story in reaction to a headline that said MGK was trying to downplay reports that things were not good between him and Fox.
MGK and the Jennifer’s Body actress began dating in 2020 after meeting on the set of Midnight in the Switchgrass, and the couple got engaged in early 2022. In November 2024, Fox announced that she was pregnant, sharing a photo of her baby bump as well as a picture of her positive pregnancy test on Instagram and writing, “nothing is ever really lost. welcome back 👼🏼❤️.” She also tagged MGK in the post. By December, the couple had reportedly broken up.
Green had previously counseled Kelly to “grow up, she’s pregnant” after news broke that he and Fox had split a month after announcing their baby news.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-03-27 19:27:272025-03-27 19:27:27Brian Austin Green Calls Out MGK for Scathing DM About Megan Fox’s Due Date
With her bubbly charm, dazzling aura and universal appeal, Selena Quintanilla revolutionized the Tejano genre in the ‘80s and ‘90s by lacing her authentic Mexican roots with bold new sounds such as R&B, pop, dance and rock. Known as the Queen of Tejano, she shattered ceilings in a genre that was dominated by men, and made history along the way.After earning four of her eventual seven No. 1 Hot Latin Songs hits in 1994 — “Donde Quieras Que Estes,” “Amor Prohibido,” “Bidi Bidi Bom Bom,” and “No Me Queda Más” — the Mexican-American powerhouse was well on her way to a major mainstream crossover before she was tragically shot dead on March 31, 1995, at the age of 23.
However, her music has stood the test of time — and, throughout the years, she’s influenced a new generation of hitmakers, making her a bona fide Latin icon in pop culture 30 years later. As a testament to her enduring legacy, Mexican-American artist Becky G speaks with Billboard about her love and admiration for Selena, and how she’s influenced her own career. Read her heartfelt as-told-to essay below:
I was born in 1997. That was two years after Selena’s passing.
My mom actually remembers when they were doing the casting calls for the movie…she actually wanted to audition. Everyone loved Selena and identified with her. Having such a young mom, she naturally played for me the music she would listen to. I may not have vivid memories of Selena, but this is the way she was introduced to me. I even have baby videos listening to her music. She’s always been a part of my life.
She’s influenced my career in so many ways. As a performer, she represented so much more than just herself. She started building a bridge for the 200 percenters like myself, who [are] no eran de aqui ni de alla (neither from here nor from there). Growing up, that identity crisis used to feel like such a curse for me. I felt that I wasn’t enough, and I felt that I had to sacrifice parts of myself to be accepted on this or that side. What Selena embodied was authenticity. She was so authentic in her sense of humor, the dreams that she had, and the way she connected with her family and fans. That’s something that we, as fans, crave today from our favorite artists, but it’s a lot easier said than done.
At Coachella in 2023, I decided to pay tribute to her. A part of me does it for Little Becky, because I think what Little Becky saw in Selena was that dreams can come true, and it’s almost a celebration of being here and of her. First and foremost, I think it’s important that we recognize who came before us, and for me, it’s a beautiful thing to pay respect to the people you know you wouldn’t be here without. I truly feel that I wouldn’t be here without Selena.
Throughout the years, I’ve been very blessed to have had many, many loving interactions with the Quintanillas. Suzette even became a pretty good friend of mine. This last tour that I was on, she came to see it, and she’s always been super supportive. I actually met [her] mom and dad at the Fiesta de la Flor Festival in Corpus Christi, and I’ll never forget that her dad couldn’t believe that I was going to perform without a band. I was just getting started! It’s always one of those things that he would tease me about. It’s been really cool to keep up with them. They’re truly dedicated to continuing her legacy, and I admire that about them.
Now, going back to the word authenticity, she represents something that still resonates and is relevant today, which is that 200 percent identity. You should always be yourself no matter what, pochos and all! I feel that from the way she showed up in interviews to the way she did some of her most iconic performances to personal stories you hear from her loved ones, there was a common thread: it was her genuine kindness.
As an artist, you are overworked, you are depleted of your energy… but when you’re meant for it, you really do it with gratitude. Selena lived in abundance and was always giving back to the community, and always had the best of intentions. So many artists throughout the years since her passing may have reminded us of her essence, but there will never be another Selena. She was one of a kind — and that’s what makes a true superstar. Selena’s legacy is to admire, to respect, and to continue protecting, because she’s a light to so many of us.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-03-27 19:21:112025-03-27 19:21:11Becky G Remembers Selena’s Impact, 30 Years Later: ‘Her Legacy is to Admire, Respect, & Protect’
Carlos Santana likes to ascribe metaphors to his music. And in the case of his new album, Sentient, that would be floral arrangements.
“When I go to the lobby in hotels in Europe, they always have these incredible flower arrangements,” the San Francisco Bay Area-based guitar hero tells Billboard. “They hire some people to come in and arrange the flowers in the lobby. That’s how this album was made — that’s how I make all my albums. I feel like a florist who is trying to combine the right colors and textures and create a beautiful ornament. That’s what Sentient is, an ornament of flower arrangements — colors, passions, textures, emotions.”
Variety is certainly the hallmark of the 11-track set, which comes out March 28 and is the follow-up to 2021’s Blessings and Miracles. It includes three previously unreleased tracks, while the rest are remastered songs drawn from various points in Santana’s career, including collaborations with friends living (Smokey Robinson, Darryl “DMC” McDaniels and his wife Cindy Blackman Santana) and deceased (Michael Jackson, Miles Davis). The selections might appear random, but Santana promises there’s a unity when they’re brought together.
“The theme of the story is to bring God out of people,” he explains. “There’s too much fear, there’s too much anger, too much harmony. There’s too much doubt, and the opposite of compassion. I’ve played music since the beginning — and now more than ever — to bring kindness, compassion, generosity, gratitude and divine attributes…elements to take make this world and life more delicious. I trust and believe that God wants something incredible for me to share with people, and that thing is to remind everyone that everyone is worthy of their own divinity and their own light. That’s the message.”
He adds that featuring collaborations with some of his late friends (“Whatever Happens” from Jackson’s 2001 album Invincible, “Get On” and “Rastafario” with Davis from their collaborations with Italian pianist Paolo Rustichelli for his 1996 album Mystic Man) help illustrate that idea.
“Miles Davis is not here and Michael Jackson’s not here, but they’re in my heart, and it makes me very grateful,” Santana says. “I learned very well from them. I am one of them. It may sound a little this or that, but I’m immortal like them. Like Bob Marley and Bob Dylan, I am here to do the same thing they’re doing, which is to invite people to have a deep sense of self-worth, to look at yourself in the mirror and say ‘I am worth God’s grace. I can create blessings and miracles myself, with my grace.’ That’s the highest thing you do as a musician, to bring God out of people instead of the devil.”
Other tracks include “I’ll Be Waiting” from the Santana band’s Moonflower live album in 1977 and the title track from 1987’s Blues For Salvador, which netted Santana his first Grammy Award, for best rock instrumental performance, the following year. “Please Don’t Take Your Love,” meanwhile, is an earlier take of a track from Robinson’s 2009 album Time Flies When You’re Having Fun, while “Coherence” is a trio track with Blackman Santana and bassist Matt Garrison that’s intended as a preview of the drummer’s own next album.
Santana invokes Jackson again in an unreleased instrumental version of his “Stranger in Moscow,” which Santana recorded with Narada Michael Walden and his band during a club gig in San Rafael, Calif. “We played that on the spot, no rehearsal, and it felt really good,” Santana says. “I had been listening to that particular song for awhile. When I play ‘Stranger in Moscow’ I become Michael Jackson. My fingers become Michael Jackson; I was imagining how he would phrase, how he would sing it, so my guitar became his voice and I learned how to articulate the language, the phrasing. I learned all this from Aretha Franklin, because I play that album, Lady Soul, over and over. I play that album so much I learned the bass, the drums, how to hear her voice.”
After Sentient‘srelease Santana will begin a nine-date Oneness Tour beginning April 16 in Highland, Calif., and wrapping May 1 at the New Orleans Jazz & Heritage Festival. His next residency at the House of Blues Las Vegas runs May 14-25, and a European Oneness Tour leg begins June 9 in Poland and runs through Aug. 11 in Copenhagen.
Santana is working on another performance idea as well — a multi-day, multi-act worldwide festival with the utopian perspective of Woodstock. “With everything that’s happening with this planet, with fear of nuclear war and Korea and China and Russia, the Middle East, I want to create a global concert that goes around the world and (promotes) unity, harmony, oneness,” says Santana, who envisions sites such as San Francisco’s Golden Gate Park, New York’s Central Park and Hyde Park in London. “It’ll keep going in Asia, Japan, Singapore, all the way to Australia and New Zealand and end up with a concert in Honolulu,” he says.
No dates or solid details have yet been determined, but Santana says he’s already reached out to some acts to participate, including Eric Clapton, Metallica, Earth, Wind & Fire and others. “Everybody I talked to, they want to do it,” he says. “It starts and begins with me. This is my vision. This is my aspiration, and I’m not afraid to manifest what I learned from Bill Graham and (Woodstock co-producer) Michael Lang and Clive Davis. I’ve learned from the best, and I believe it’s not impossible to create a global event of this magnitude…and celebrate, celebrate, celebrate. Instead of fear. Celebrate — with joy.”
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-03-27 19:15:292025-03-27 19:15:29Carlos Santana Says He ‘Learned Very Well’ From Miles Davis & Michael Jackson, Is ‘Immortal Like Them’
He recalled a time when they were on the road and got into it with various rap crews as they tried to perform their sets. “You know how many fights I had to have,” he asked rhetorically. “We was in Biloxi, Miss., got into a fisticuffs with Run-D.M.C. on stage because we was them n—as from Miami and we were ‘Bama. Getting ready to get into a fisticuff with who? With Redman. Go listen to that record. Everybody had disrespect for us. We weren’t supposed to be in hip-hop.”
Luke then brought up the group’s beef with Salt-N-Pepa and Kid ‘N Play over their remarks on an episode of BET’s Video Soul hosted by Donnie Simpson that the music 2 Live Crew was making wasn’t hip-hop.
“Salt-N-Pepa and Kid ‘N Play all them, which — I love them to death, we friends right now today — but they got on BET and said, ‘That s—t they doing in Miami is not hip-hop.’ When I saw them, I had to have a conversation with them,” he said.
In 1990, 2 Live Crew addressed those comments on the interlude “I Ain’t Bullsh—ttin’ Part 2” off their controversial album Banned in the U.S.A., on which they hurl homophobic insults for about six minutes.
He then brought up Redman again and elaborated on the New Jersey rapper’s song “I’m a Bad,” on which he has a skit in the middle mocking 2 Live crew. “What Redman and them do on they record,” he asked again rhetorically. “They did a whole skit. Go listen to the record. They were making fun of our slang.”
He also said Eric B. & Rakim tried to cut 2 Live Crew’s set from five minutes to three minutes once when they were in Memphis.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-03-27 19:15:282025-03-27 19:15:28Uncle Luke Recalls Fighting New York Rappers Over Southern Rap Hate
Lyrical Lemonade has announced this year’s Summer Smash Festival lineup — and it contains some potentially culture-shaking performances. The three-day event will be headlined by Future, the world debut of the newly formed duo of Don Toliver and Yeat, and Young Thug in his first live performance since his release from jail.
Related
Huey P. Williams, Beloved Lead Singer of the Jackson Southernaires, Dies at 80
Scheduled for Friday, June 20, through Sunday, June 22, Summer Smash will grace SeatGeek Stadium near Chicago for its seventh iteration. Tickets will be released for purchase on Friday (March 28) at 12 p.m. CT via the Summer Smash website.
This year’s Summer Smash Festival features some of the hottest names across hip-hop’s innumerable scenes. Led by Don Toliver and Yeat, the Friday night lineup also includes Trippie Redd, Ski Mask the Slump God, NLE Choppa, Nettspend, DC the Don, Molly Santana, Karrahbooo and more. On Saturday (June 21), Future will lead a lineup that features Sexyy Red, Lil Tecca, Destroy Lonely, SahBabii, Soulja Boy, Osamason, BabyTron, Plaqueboymax, Famous Dex and 1900Rugrat. The lineup of Sunday night performers preceding Thugger’s highly anticipated live comeback includes Lil Yachty, Quavo, Nav, G Herbo, Saba, Insane Clown Posse, Bktherula, Skaiwater and TiaCorine. Chance the Rapper will close out one of the two main stages on Sunday night.
“I feel lucky to be able to throw the party of the year with my best friends,” said Cole Bennett, Summer Smash Festival cofounder and Lyrical Lemonade founder, in a press release. “May this be the best one yet. Lucky No. 7.”
Young Thug’s headlining appearance comes the year after Summer Smash hosted one of the most iconic musical homecomings of the decade with Chief Keef’s long-awaited return to performing in Chicago after a 12-year hiatus. Thug, of course, was in the throes of his state RICO trial for most of 2024. On Oct. 31, 2024, he was sentenced to 15 years probation and no prison time after pleading guilty in the long-running case accusing him of leading a violent Atlanta street gang. Despite popping up on songs with Lil Baby (“Dum, Dumb & Dumber”) and Playboi Carti (“We Need All Da Vibes”), Thugger has been relatively quiet on the music front so far in 2025.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-03-27 19:06:262025-03-27 19:06:26Young Thug, Future, Don Toliver & Yeat to Headline 2025 Summer Smash Festival
Latin music executive Angel Del Villar was convicted by a federal jury Thursday (March 27) on felony charges of doing business with a concert promoter linked to Mexican drug cartels, setting the stage for a potential decades-long prison sentence.
Jurors found the Del Records CEO guilty on 10 counts of violating the Foreign Narcotics Kingpin Designation Act, a federal law that bars U.S. residents from doing business with known drug traffickers, as well as one conspiracy charge, the U.S. Attorney’s Office in Los Angeles told Billboard on Thursday.
Related
A Timeline of Ángel del Villar’s Legal Saga
Prosecutors alleged that Del Villar repeatedly arranged concerts with Jesus Pérez Alvear, a Guadalajara-based promoter who allegedly had ties to Mexican cartels. At trial this week, regional Mexican superstar Gerardo Ortiz took the stand to testify against Del Villar, saying he had seen Pérez Alvear at the Del Records offices and had himself performed at one of the promoter’s concerts.
As reported by Rolling Stone, attorneys for Del Villar argued during opening statements last week that he had been “manipulated” into working with Pérez Alvear by a “trusted” former employee named Brian Gutierrez, who they say assured him that it was legal. They argued that Gutierrez was a paid informant for the FBI who had helped the feds “manufacture a gotcha situation” to “take down” Del Villar.
After eight days of trial, those defense arguments clearly did not sway the jury, which handed down guilty verdicts against both Del Villar and his Del Entertainment Inc. Following the verdict, Del Villar will face sentencing in August; under the Foreign Narcotics Kingpin Designation Act, he could face a maximum sentence of 30 years in prison, though he could also receive far less than that.
Attorneys for Del Villar did not immediately return a request for comment.
Founded by Del Villar in 2008, Del Records later grew into a top record company for regional Mexican music. The label was home to música mexicana supergroup Eslabon Armado, whose global hit, “Ella Baila Sola” with Peso Pluma, became one of the biggest songs of 2023, as well as Lenin Ramirez and other chart-topping artists.
Related
Gerardo Ortiz Pleads Guilty and Testifies Against Del Entertainment’s Ángel del Villar in…
But in June 2022, Del Villar, 41, CFO Luca Scalisi, 56, and Del Records itself were all charged with conspiring to violate the Foreign Narcotics Kingpin Designation Act. Passed in 1999, the law allows the U.S. to impose targeted sanctions on foreign individuals involved in the illegal drug trade and ban U.S. residents from doing business with them.
The U.S. Treasury Department added Pérez Alvear to the sanctions list in 2018, claiming he and his company, Gallistica Diamante, had helped cartels “exploit the Mexican music industry to launder drug proceeds and glorify their criminal activities.” According to court records, he has since died.
Prosecutors said Del Villar and Scalisi used Pérez Alvear to arrange four Mexican concerts for an undisclosed Del Records artist, then accepted nearly $200,000 in payments from him, all while aware that he had been sanctioned. Charging documents cite a never-sent Del Records press release acknowledging that status, as well as private messages in which Scalisi noted that Pérez Alvear was “under homeland security watch” and Del Villar was directly told that Pérez Alvear was “a sanctioned US person.”
Following this month’s trial for Del Villar, Scalisi will face his own jury trial in July on similar charges.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-03-27 19:06:252025-03-27 19:06:25Del Records CEO Ángel del Villar Found Guilty in Criminal Trial Over Mexican Cartel Ties