LiveOne, the music media company that changed its name from LiveXLive in September, should prepare to go to trial with a former investor who claims he was defrauded of millions of dollars in cash and equity by company chairman and chief executive Rob Ellin or renew mediation and settle the three-year-old lawsuit outside of court. That’s according to a New York judge’s ruling Thursday (Nov. 4) after declining to dismiss fraud charges filed by investor Joe Schnaier in 2019.

During Thursday’s hearing, LiveOne attorney Steve Iser asked New York state court judge Jennifer Schecter to dismiss Schnaier’s fraud claims, arguing that Schnaier did not properly investigate Ellin’s claims before making his investment.

But Schecter declined that request, noting that Ellin made “knowingly false, material statements of fact” to induce Schnaier into investing $1.25 million in the then-fledgling media company LiveXLive (LXL) in early 2017. Those alleged misrepresentations include a claim by Ellin in 2016 that LiveXLive had “signed an IPO” worth $75 million to $125 million with the Bank of Montreal and a claim Ellin had secured the livestreaming rights to festivals including Coachella, Glastonbury and Bonnaroo — none of which turned out to be true.

Iser conceded in a July court filing that some of the representations made by Ellin were false, writing “had LXL obtained the rights to stream any major music festivals, such festivals not only would have been listed on LXL’s website so its subscribers could pay LXL to view the festivals, but there would have been press releases and/or disclosures of such streaming rights in LXL’s public filings with the Securities and Exchange Commission.” In court Thursday, Iser argued that Schnaeir was an accredited investor who had worked as a licensed securities broker for over 20 years and should have done a more thorough job conducting due diligence. If Ellin’s statements about the IPO or representations about his plans to merge LiveXLive with SFX and Quello had been true, they would have been disclosed to the Securities and Exchange Commission with accompanying paperwork.

“Every material misrepresentation is disclosed in SEC filings,” Iser told Schecter during the hearing. “Whether there’s a merger [would be] disclosed in SEC filings.”

Schnaier can’t claim fraud, Iser argued, because he had done almost no due diligence beyond “talking to the employees of LiveXLive,” ignoring “numerous hints of falsity” while failing to challenge Ellin’s assertions that documentation backing up Ellin’s claims was proprietary.

“I think someone as sophisticated and savvy as Mr. Schnaier would have said, ‘Wait a minute, you just told me all of this so-called proprietary information,’” Iser argued. “But he didn’t do that. And he’s an experienced broker and never checked to see if these things were proprietary.”

Schnaier’s attorney Josh Wurtzell said that Schnaier had spoken with a few members of LiveXLive’s management team and admits he wished he had been provided with more documentation, but as someone who had done similar in the past  “nothing unusual stood out to him.”

Iser’s line of argument, however, did not meet the high legal hurdle required to warrant the dismissal of fraud charges, Schecter said, and the judge suggested Iser save his defense for the jury. Noting that LiveXLive had exhausted its last legal remedies for having the case dismissed, Schecter encouraged both sides to weigh “the risks and strengths” of the case and consider meditation and settlement.

“Know that you are headed for trial. There will be expense. There will be uncertainty,” she said. “Are the parties determined to go to trial?”

Iser told the judge there were previous discussions about mediation and “now that this motion has been decided, I expect us to return to those conversations.” Wurtzel indicated he too was open to mediation.

Ariana Grande and Cynthia Erivo revealed Thursday night (Nov. 4) that they’re starring in a movie adaptation of the hit Broadway musical Wicked.

The two stars shared Instagram pictures from a tearful video call where they learned they’d be starring as the witches from the Land of Oz. Grande will portray Elphaba the Wicked Witch of the West — the role originated by Idina Menzel on Broadway in 2003 — while Erivo will portray Glinda the Good Witch, made famous by Kristin Chenoweth in the original production.

“Thank goodness,” Grande captioned her series of photos, tagging director Jon M. Chu — who will helm the adaptation for Universal — as well as Erivo and the @wickedmovie Instagram page. Grande’s photos include a picture of a bouquet of flowers with a card reading, “‘Pink Goes Good With Green’ Congratulations Miss A, The Part Was Made For You, I Look Forward To Sharing This Musical Journey With You. Love, Cynthia.”

Erivo captioned her pictures “Pink goes good with Green,” while tagging the same group. She also shared flowers from her co-star, with Grande writing on the card: “dear cynthia, honored doesn’t even begin to cover it. i cannot wait to hug you. see you in oz. all my love, ari.”

The Steven Schwartz musical is based on the 1995 novel Wicked: The Life and Times of the Wicked Witch of the West by Gregory Maguire, which itself is a retelling of the 1900 L. Frank Baum classic The Wonderful Wizard of Oz, told from the perspective of the witches. Screenwriter Winnie Holsman and composer Schwartz are adapting the musical for the screen.

Grande and Erivo will both be making their returns to Broadway. The “thank u, next” pop star got her start in the 2008 Broadway musical 13 as a teenager before breaking out on Nickelodeon’s Victorious. Erivo won the 2016 Tony Award for best performance by a leading actress in a musical for her portrayal of Celie in The Color Purple.

Grande’s love for Wicked has been well-documented over the years, including her explosive performance of “The Wizard and I” on NBC’s A Very Wicked Halloween back in 2018. Now we’ll get to see her perform the standout Elphaba song on the big screen.

See Grande and Erivo’s posts below:

Coming out to your parents can be one of the most emotionally gratifying things a person can do — and one lucky fan got some help from pop superstar Harry Styles to make her moment even more special.

During the Milwaukee stop Wednesday for his Love On Tour, Styles spotted a fan holding up a sign that read, “My mom is in section 201. Help me come out?” The “Watermelon Sugar” singer, naturally, stopped the show for a moment to read the sign and offer his help.

In a series of video clips posted online, Styles can be seen locating the fan’s mom in the crowd, before running across the stage and holding out his microphone, telling his fan to go for it. When she asked if he could do it because there were “a lot of people” in the crowd (“Did you not know?” he lovingly chided), Styles ran to the center of the stage singing to himself and loudly declared: “Lisa! She’s gay!”

The stadium camera then panned to the fan’s mom, as she wiped tears away from her eyes, cheered, and blew kisses to her daughter down in the pit. Styles applauded before pointing something out to the fan and her mom. “Now, I don’t want to ruin the moment,” he said, smirking. “But wouldn’t it be nice if you were a little bit closer together? You’ll see her later, congratulations and thank you!”

The fan ended up posting a video of the moment from her perspective, while captioning it with a thank-you message for Styles. “A moment that will actually be with me forever,” she wrote. “Thank you for creating a safe place for me. Thank you for letting me grow alongside you as a fan. Thank you for helping me know who I am. Thank you.”

Styles, who’s managed by Jeffrey Azoff and represented by CAA, kicked off his North American tour in support of his chart-topping album Fine Line in September, after the trek was postponed twice in the midst of the COVID-19 pandemic. Lasting throughout the rest of the month, the Love On Tour will officially come to an end Nov. 28, where Styles will be the first performer at Belmont Park, New York’s brand-new UBS Arena.

Check out the emotional coming-out moment below:

After weeks of teasing, Charli XCX released “New Shapes,” her new song featuring Christine and the Queens and Caroline Polachek, on Thursday (Nov. 4).

The synth-heavy song sees Charli, Christine and Polachek lamenting their inability to truly let their significant others in, instead pushing them away, rejecting true love and embracing freedom. “New Shapes” marks Charli’s second collaboration with Christine, their first being “Gone” from Charli’s 2019 self-titled album.

Charli took to social media to tell fans that her upcoming album, Crash, will be released March 18 of next year. Ahead of the album announcement, Charli revealed that Rina Sawayama, Oneohtrix Point Never, A. G. Cook, The 1975’s George Daniel and Ariel Rechtshaid, as well as “New Shapes” producers Deaton Chris Anthony and Linus Wiklund, will appear on the album as collaborators.

The 29-year-old will also embark on a multi-date tour in North America and Europe, starting March 26 at the Fox Theatre in Oakland and ending at Barcelona’s Primavera Sound festival on June 9. Charli revealed that fans can gain early access to tickets when presaving the album on Spotify or preordering the album through her official webstore.

Listen to “New Shapes” and see Charli’s list of 2022 concert dates below.

Charli XCX tour dates:

March 26 – Oakland, CA – Fox Theatre
March 29 – Portland, OR – Crystal Ballroom
April 1 – San Diego, CA – The Observatory North Park
April 3 – Los Angeles, CA – The Greek Theatre
April 6 – Denver, CO – Ogden Theatre
April 8 – Austin, TX – ACL Live at The Moody Theater
April 9 – Houston, TX – House of Blues Houston
April 10 – Dallas, TX – House of Blues Dallas
April 12 – New Orleans, LA – Orpheum Theater
April 13 – Atlanta, GA – The Eastern
April 15 – Asheville, NC – The Orange Peel
April 16 – Norfolk, VA – The NorVa
April 18 – Philadelphia, PA – The Fillmore Philadelphia
April 20 – Boston, MA – House of Blues Boston
April 22 – New York, NY – Hammerstein Ballroom
April 23 – New York, NY – Hammerstein Ballroom
April 25 – Toronto, Ontario – Massey Hall
April 26 – Royal Oak, MI – Royal Oak Music Theatre
April 28 – Saint Paul, MN – Palace Theatre
April 29 – Chicago, IL – Byline Bank Aragon Ballroom
May 13 – Dublin, Ireland – Olympia Theatre
May 15 – Glasgow, Scotland – O2 Academy
May 17 – Manchester, England – Victoria Warehouse
May 18 – Birmingham, England – O2 Academy
May 19 – London, England – Alexandra Palace
May 21 – Norwich, England – UEA
May 22 – Sheffield, England – O2 Academy
May 23 – Nottingham, England – Rock City
May 25 – Paris, France – Trianon
May 27 – Brussels, Belgium – La Madeleine
May 28 – Utrecht, Netherlands – Ronda Hall
May 30 – Berlin, Germany – Astra
May 31 – Cologne, Germany – Carlswerk Victoria
June 2 – Barcelona, Spain – Primavera Sound
June 4 – Milan, Italy – Fabrique
June 7 – Madrid, Spain – La Riviera
June 9 – Barcelona, Spain – Primavera Sound

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Promotion executive John Fagot died Tuesday at the age of 78 following complications from a stroke. Fagot was a beloved executive who worked for Columbia, Capitol and Hollywood Records over the course of his more than 40 years in the industry.  

“John was the consummate record man, beloved by everyone in the industry. But he was so much more than that; he was a loving husband, father, grandfather, and friend to so many,” Capitol Records said in a statement provided to Billboard. “He played an important role in establishing the legacy of Capitol Records and his contributions will endure. As sad as we are today, thinking of John can’t help but make us smile. We extend our deepest condolences to his family and loved ones. John will be missed.” 

Fagot got his start in the industry in the 1970s working in the mailroom for CBS Records in Atlanta. His career then took him to the role of promotion manager for Columbia Records, serving Atlanta, Dallas and the Carolinas. By 1984, Fagot became Columbia’s national director of singles promotion before being promoted to vp promotion two years later. Capitol hired Fagot in 1987 to take on a similar role at the label. In 1995, Fagot moved from senior vp promotion at Capitol to the same role at Hollywood Records.  

In a 1990 interview with music and radio trade publication The Network 40, when asked what makes a great promotion person, Fagot said, “You have to love music, and you have to love the music you’re working. But the most important thing is the willingness to work. You have to be very dedicated and willing to put in a lot of time and effort.” 

In the 2000s, Fagot began working for trade publication Radio & Records as senior director of digital initiatives. He also served as a consultant for peer-to-peer monitoring service Webspins.  

Survivors include his wife Lucy, children Mary and Chris and two grandchildren.