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YouTube is pausing Russian affiliated channels’ ability to monetize on the video platform, the company announced on Saturday (Feb. 26).
In a statement, YouTube announced it would be suspending several channels’ ability to collect ad revenue, including the state-funded media outlet RT. The move comes just days after Russia’s decision to invade Ukraine on Thursday.
“In light of extraordinary circumstances in Ukraine … we’re pausing a number of channels’ ability to monetize on YouTube, including several Russian channels affiliated with recent sanctions,” YouTube said in the statement obtained by Reuters.
Additionally, videos from the blocked channels will appear less often in recommendations. Following a request from the Ukrainian government, RT and the other channels that have had their ad revenue paused are now no longer accessible in Ukraine. That request, from Ukraine’s minister of culture Oleksandr Tkachenko, was shared to Twitter on Saturday.
Minister of Culture and Information Policy of #Ukraine Alexander Tkachenko prepared a letter to the management of YouTube with a request to ban #Russian propagandists. pic.twitter.com/Wqfbv3oxUV
— NEXTA (@nexta_tv) February 26, 2022
The news follows a similar move from Meta on Friday, which announced it is “now prohibiting Russian state media from running ads or monetizing on our platform anywhere in the world,” according to a Twitter statement from security policy head Nathaniel Gleicher.
“We also continue to apply labels to additional Russian state media. These changes have already begun rolling out and will continue into the weekend,” he continued.
In addition to blocking ads and monetization abilities for Russian state media, to assist with users being targeted, Meta is rolling out locked profiles in Ukraine, has temporarily removed the ability to view and search the “Friends” list for Facebook accounts in Ukraine, and is taking additional safety measures for its Messenger app and the WhatsApp platform that establish or expand existing disappearing message abilities.
Gleicher said that when it comes to Instagram, it is deploying privacy and account security alerts tied to password security and two-factor authentication in Ukraine. Earlier in the week, Meta created an operations center with experts from across the company, including native Russian and Ukrainian speakers, who are monitoring and responding to issues.
This article originally appeared on The Hollywood Reporter.
Kanye West is once again pushing back on Kim Kardashian’s desire to end their marriage.
The 44-year-old rapper and fashion mogul, who now goes by Ye, has reportedly filed legal documents claiming that his estranged wife can’t prove he wrote now-deleted social media posts bashing Kardashian’s parenting style and trashing her boyfriend Pete Davidson.
The Donda rapper’s attorney argues that his client’s controversial posts are hearsay and should be inadmissible during an upcoming court hearing, according to legal docs obtained by TMZ.
“Kim claims she read something online allegedly by Kanye and characterizes the posts in her declaration as misinformation,” the documents reportedly state. “Kim needed to offer the social media posts into evidence, and show that the posts were written by Kanye.”
Ye wrote on Instagram in mid-February that he was taking “accountability” for his actions following a public feud with Kardashian, which also involved repeated insults directed at Davidson. Previous shots at the Saturday Night Live comedian included Ye calling Davidon a “d—head,” making fun of his Hillary Clinton tattoo, and publicly stating that he “WILL NEVER MEET MY CHILDREN.”
“I know sharing screen shots was jarring and came off as harassing Kim,” Ye wrote at the time. “I take accountability. I’m still learning in real time. I don’t have all the answers. To be good leader is to be a good listener.”
The rapper’s since-deleted Instagram posts also showed screenshots of texts from Kardashian expressing concern that his actions may cause Davidson to get hurt. Ye later asked his followers to not harm the late-night star.
Earlier this week, Kardashian fired back at Ye’s recent request to delay their divorce, telling a judge he’s released harmful “misinformation” onto social media, and that a quick ruling would “help Kanye to accept that our marital relationship is over.”
Kardashian filed for divorce from West in February 2021 after six years of marriage. Both sides initially said that the split would be amicable, but the relationship between the two superstars has turned increasingly acrimonious in the year since, as both have begun public romances with new partners.
The two reportedly have an extensive prenuptial agreement, and dutifully kept their assets split during the marriage, limiting the complexity of the proceedings. When the divorce was filed, it was reported that both had agreed to joint custody of their four children, but it’s unclear if that issue will be litigated in future proceedings.
In a chat on The Kelly Clarkson Show this week, Mandy Moore raved about fellow singer-actress (and “super mom”) Hilary Duff.
Moore, whose son just turned one, is thankful for the pandemic-friendly pod that Duff, a mom of three whose youngest is around the same age, has organized for their group of friends. Their pod includes a few other familiar names.
“Hilary is a close friend, and she has a daughter who is six weeks younger than Gus. She’s like super mom — she has three kids — but she decided to start hosting this music class at her house. There’s lots of other new moms in our group: Meghan Trainor, Ashley Tisdale,” Moore told Clarkson.
“It’s so much fun. I think in this time of COVID and having a kid in the midst of a pandemic, finding community to lean on, have your kids sort of start to grow up together … I’m really grateful Hilary has done us all this giant favor.”
The This Is Us star previously opened up about the challenges of being a new parent during the COVID-19 pandemic, noting in an Instagram conversation with clinical psychologist and perinatal mental health specialist Dr. Ashurina Ream that she’d pictured having a community through events like “mommy-and-me classes and baby classes,” but instead faced a lot of isolation.
“And so it’s having to reframe these expectations that you’ve had about what it’s like to be a mom and what it’s like to connect with people,” Moore said over the summer, when baby Gus was only five months old. “The isolation is something that’s really hit me that I wasn’t necessarily expecting.”
During that candid conversation, Moore had shared her newfound appreciation for her This Is Us character, Rebecca Pearson: “I know it’s a television show and it’s not a reality show,” she said, “but still it’s like this is a woman who didn’t have a village — she had a supportive partner but also a supportive partner who had a job — and was sort of left to her own devices with triplets. I don’t know how she did it, and I felt that way initially, but now having one child, I’m, ‘It’s like a whole new ballgame for me.’ I kind of joke around, like, ‘Can I go back now? Can we start the series from the beginning because I just have some little inkling now what it’s like to be a parent that I didn’t before?’”
Watch Moore’s new interview clip with Clarkson below.
Las Vegas police are investigating the death of 43-year-old comedian and performer Donny Davis, who was found unresponsive after a night with several people at a luxury hotel on the Strip.
Hotel security and Clark County paramedics discovered Davis after being summoned around 5:30 a.m. Tuesday to a Conrad hotel guest room in the Resorts World complex, according to a police report obtained Friday (Feb. 25). He was pronounced dead at a hospital.
Davis was a 4-foot-2 actor who danced for several years in Britney Spears’ show in Las Vegas, toured with Joe Jonas, and was frequently seen with stars including Miley Cyrus and Steven Tyler of Aerosmith, the Las Vegas Review-Journal reported.
He also performed at a party bar called Beacher’s Madhouse and hosted private parties by celebrities including Mariah Carey and Demi Lovato.
Paramedics summoned police because they said they had trouble getting information from the four other people in the room, the police report said.
Witnesses told investigators that Davis went to the room after being denied service at a hotel bar for being too intoxicated.
A Clark County coroner’s office spokesman said it could take several weeks for results of blood toxicology tests and a finding of a cause and manner of Davis’ death.
Avril Lavigne celebrated the release of her seventh studio album, Love Sux, on Friday (Feb. 25) with an intimate show at Los Angeles’ The Roxy as part of SiriusXM and Pandora’s Small Stage Series.
The 37-year-old punk pop princess was visibly elated throughout the night, where she gave high-energy renditions of fan-favorite hits including “Sk8er Boi,” “What the Hell,” “Girlfriend” and, of course, “Complicated.”
Champagne bottle in hand, Lavigne drank to her return to the rock scene after her emotional 2019 LP Head Above Water — all with a little help from her famous friends. With Travis Barker on drums for four songs, Lavigne also called up her boyfriend Mod Sun for their “Flames” duet, complete with a swoon-worthy hug and kiss onstage.
A highlight of the evening was when the “My Happy Ending” singer surprised the crowd with her longtime pal Machine Gun Kelly, sporting a crop top and a new pastel pink hairdo. The duo performed their collaboration, “Bois Lie,” together for the very first time — as MGK’s fiancée, actress Megan Fox, watched sweetly from the crowd.
this is @AvrilLavigne @travisbarker @machinegunkelly and I casually hanging out at the legendary Roxy. no biggie 😭😭😭 pic.twitter.com/nmQ4zsZGTO
— leka (@leeekz) February 26, 2022
Among the other celebrities in attendance at the celebratory event were Barker’s fiancée Kourtney Kardashian, Willow Smith, Huddy, JXDN, Nessa Barrett, Tyler Posey, Phem, Pinkpantheress, Alex Gaskarth and Zack Merrick of All Time Low and Grandson.
“I went into this album and just said, ‘I want to make a pop-punk record, a rock-and-roll record. I don’t want to be on the piano. I don’t want ballads, really. I just really want to rock out,’” Lavigne recently told Billboard of her new album. “I think especially after my last album being so mellow and dramatic and deep and introspective — you know, it was beautiful, and it was where I was at in my life, and that’s what worked for me at the time. But I was just ready to get back out there, rock the f—k out, and again just thinking about the live shows. I mean, this is the kind of music I fell in love with, when I was old enough to buy CDs, to discover bands — like, my first year of high school, which is grade nine in Canada.”
See her SiriusXM and Pandora’s Small Stage Series set list below.
Sk8er Boi
What the Hell
Complicated
Bite Me
Girlfriend
Love It When You Hate Me
Bois Lie (with Machine Gun Kelly)
Here’s to Never Growing Up
My Happy Ending
Flames
I’m With You
Warner Music Nashville has teamed with Atlantic Records and Bad Realm Records to bring singer-songwriter Breland to the WMN roster.
Breland is in the top 15 on Billboard‘s Country Airplay chart with his feature on Dierks Bentley’s single “Beers on Me” with HARDY, and will debut his new song “Praise The Lord” at the 57th annual ACM Awards on March 7. Breland is the second country artist to be recognized as part of Amazon Music’s Breakthrough Artist program. He’s on the road opening shows for Russell Dickerson.
He becomes the latest in a long line of acts that pop divisions are partnering with their Nashville counterparts to work and vice versa. WMN and Warner Records’ pop division already work together on Gabby Barrett and Dan + Shay to garner pop airplay on certain releases. Universal Music Group Nashville and UMG’s Interscope partnered on Kacey Musgraves’ latest album, Star-crossed. Sony Music Nashville has teamed with RCA Records to promote several acts including Tenille Townes and Kane Brown, who has released songs with several acts on RCA’s pop roster, including Khalid and H.E.R.
In 2019, Breland earned a viral hit with “My Truck,” which gained traction on TikTok and reached No. 1 on Spotify’s Global Viral 50 chart. The song also crossed over onto Billboard‘s Hot 100 chart and was certified platinum by the RIAA. Since releasing “My Truck,” thanks to his musical blend of country, pop, trap, hip-hop and bluegrass elements, Breland has become an in-demand collaborator, working with artists including Keith Urban (“Throw It Back” “Out The Cage”), Sam Hunt (a remix of “My Truck”), Mickey Guyton (“Cross Country”), Nelly and Blanco Brown (“High Horse”), Tiera (“Miles”), Gary LeVox (“All I See”) and more.
In 2020, Breland released both a self-titled project, as well as the two-song EP Rage and Sorrow in recognition of Juneteenth. Last year, he inked a publishing deal with Reservoir, made his Grand Ole Opry debut performance, and opened for Deana Carter at the Ryman Auditorium.
“We couldn’t be more excited to partner with Warner Music Nashville on the next phase of Breland’s meteoric career,” said president of Atlantic Records West Coast, Kevin Weaver, in a statement. “It’s a privilege for Atlantic and Breland to join forces with our sister company in Nashville as we continue to introduce Breland’s unique cross-country sound and style around the globe.”
“It’s been so exciting to watch him change the game in this genre and we’re beyond proud to join forces with him as he continues to break down barriers for the next generation of Nashville artists,” added Warner Music Nashville chairman/CEO John Esposito.
The Ledger is a weekly newsletter about the economics of the music business sent to Billboard Pro subscribers. An abbreviated version of the newsletter is published online.
It seems everybody is getting — or wants to get — in on the NFT business. It’s reminiscent of the late ’90s when companies rushed to launch websites because, well, there was money to be made and everybody else was doing it. Many companies stumbled out of the gate, but the internet turned out to be a pretty good business opportunity. The jury is still out on NFTs but there’s obvious potential. It’s no surprise that people spend hundreds or thousands of dollars on digital tokens that confer rights to anything from digital art to fan club-like perks. Some fans spend dearly to support their favorite artists. And with NFTs, people get immutable proof of ownership on the blockchain and the ability to re-sell at a higher price (and charge a royalty on re-sale).
The size of the addressable market for music NFTs is, however, hard to pin down. NFTs are a unique product that’s purchased by a small subset of music fans willing to jump through hoops to spend cryptocurrency rather than fiat currency on a credit card, and the jury’s still out on their long-term potential. Early cryptocurrency investors are buying NFTs using digital wallets bursting from skyrocketing prices — it’s like spending found money. And analysis found that what looks like demand for NFT can be “wash sales” where creators bought their own NFTs to drive up prices. Those aren’t signs that NFTs, in general, have less value than people think.
One small clue of the potential of NFTs came back in 2013 when Nielsen surveyed U.S. music fans’ spending habits on concert tickets, music purchases and other music-related goods and services. The goal was to quantify the market opportunity available to artists and labels for selling premium products and experiences to their biggest fans. At the time, 40% of U.S. music fans accounted for 75% of music spending, according to Nielsen — between $20 billion and $26 billion annually. That subset of music consumers could spend an additional $450 million to $2.6 billion annually “if they had to opportunity to snag behind-the-scenes access” and “exclusive content” from their favorite artists, wrote Nielsen. Again, that’s only the potential U.S. market.
The question was how artists would get that content and access to fans. In 2013, fan-funding platforms such as Kickstarter, PledgeMusic (which commissioned the survey), Indiegogo, ArtistShare, RocketHub and Sellaband were young and gaining momentum. Artists realized they could use crowdfunding to offer special packages to “superfans” that went beyond the standard CD or LP release. The typical fan might buy a CD or digital download.
The most casual fans — which is most of all music listeners — spend little on music. In 2013, they bought downloads. Today, they’re more likely to stream music and listen to the radio. For a few fortunate artists, these are significant revenue streams, but many acts rely on superfans to spend more on music, merch and concert tickets. About a third of all music spending came from a group Nielsen called aficionados that accounted for just 14% of music consumers.
Nielsen didn’t anticipate the existence of NFTs, but many NFTs offer two of the main things Nielsen talked about in 2013: exclusive content and behind-the-scenes access. Take the NFTs that give the owner lifetime tickets to Coachella — two per year for one weekend — plus various VIP perks to this year’s festival, free access to virtual events and invites to private functions. Those NFTs have received bids over $10,000, and the NFT that includes a fully stocked trailer in the VIP compound this year has a high bid of $115,000 and a “buy now” price of $1 million. Snoop Dogg’s NFTs sold through Gala Music were described as “access to a superfan club” that makes owners of all 17 NFT tracks “part of the VIP scene” and provides “exclusive access to parties at Snoop’s LA mansion.”
It’s difficult to draw direct comparisons between NFTs and fan clubs, though. Buying NFTs for perks requires far more faith than joining a fan club for an annual fee. An NFT is a single, lump-sum purchase for goods and services to be rendered at some point in the future. Exactly what and when the goods and services will be delivered might not be spelled out. The buyer trusts they’ll get what they’re promised. Sure, NFT companies and artists have a motive to deliver value to NFT holders rather than risk angering their most fervent fans. But people are spending a lot of money expecting they’ll get perks for many years.
Superfans want more than high-priced, autographed vinyl box sets. NFT technologies can open the door to a diverse range of products and services in the digital world. Regardless of the uncertainties surrounding music NFTs, fans are already showing a willingness to buy and collect them. Over time, the market could reach and exceed Nielsen’s nine-year-old estimate. In the meantime, though, it could get difficult to separate hype from reality.
STOCKS
Through Feb. 25, the % change over last five trading days and year to date.
Spotify: -6.2%, -35.1% YTD
Universal Music Group: -8.7%, -22.6% YTD
Warner Music Group: -0.3%, -15.4% YTD
Live Nation: +7.3%, +19.7% YTD
iHeartMedia: +1.2%, -1.8% YTD
Anghami: +7.7%, +73.4% YTD
NYSE Composite: +0.2%, -4.3% YTD
Nasdaq: +1.1%, -12.5% YTD
First Stream Latin is a compilation of the best new Latin songs, albums, and videos recommended by the Billboard Latin editors. Check out this week’s picks below.
Natti Natasha, El Alfa, Chimbala, “WOW BB” (Pina Records/Sony Music Latin)
A more fitting title could not exist, as Natti Natasha managed to reel in two pioneers of the dembow movement for “WOW BB.” The flirtatious track, produced by B-One, DJ Luian, Mambo Kingz, and Raphy Pina, is a playful dembow about two men who are trying to swoon the same girl. She, however, is independent and is not impressed by their coquetry. More than a great summer anthem, “WOW BB” flaunts pure Dominican power as the three artists unite their distinct vocals and flow. The three artists officially debuted the song on television at the 2022 Premio Lo Nuestro. — JESSICA ROIZ
Maria Becerra, “Felices x Siempre” (300 Entertainment)
Argentinian singer-songwriter Maria Becerra released the first single off her upcoming second album. The pop-ballad perfectly fuses her lyrical versatility with the theme of a relationship that is over and was not meant to be “Happily Ever After.” This new track empowers new beginnings, where she lets her vulnerability shine in this heartfelt song. While Maria has dabbled in urban music in her previous songs, this is the start of a new era in her music career. — INGRID FAJARDO
El Fantasma, “Fuera De Servicio” (AfinArte Music)
Durango, Mexico-born singer-songwriter El Fantasma is making the rounds with his new banda anthem “Fuera De Servicio,” penned by Luciano Luna and Tony Montoya. The attitude-heavy corrido narrates his return to the forefront after a few obstacles challenged him along the way. “I struggled, but don’t worry, I know you’ll be there for me just how you had said back when I lend you a helping hand,” he sings. “My good luck has returned in case you want to come say hello again.” The track is powered by traditional Sinaloan band brass instruments that provide a canvas to El Fantasma’s emboldened lyrics. — GRISELDA FLORES
Rauw Alejandro, Trap Cake Vol. 2 (Sony Music Latin)
A follow up to his 2019 Trap Cake, Vol. 1, which featured collabs with Cazzu, De La Ghetto, and Jon Z, Rauw Alejandro delivers an equally star-studded Vol. 2 that includes songs with Future, Ty Dolla $ign, and Rvssian. The genre-blurring EP stays in tune with the Puerto Rican artist’s ever-so experimental essence. Treading between trap, rock, pop, and R&B, Alejandro kicks off the nine-track set with the sentimental heartbreak song “Museo.” But not all is heartbreak in Trap Cake Vol. 2, a standout track is “Wuepa” with Ankhal, a bonafide party anthem. — G.F.
VF7, 15 (Sora And Company 1)
VF7 dropped her sophomore studio album 15 on her quinceañera, which coincided with her first-ever nomination at the 2022 Premio Lo Nuestro. The Puerto Rican newcomer, a 2020 “Billboard Latin teen artist to have on your radar,” has already received the stamp of approval from reggaeton stars Rauw Alejandro, Jay Wheeler and Lunay, to name a few. On 15, she counts with collaborations from Nio Garcia (on the urban-bachata “Baila”) and Lyanno (on “Ya No Es =”), to name a few. The 14-track set kicks off with “Quince,” where the artist (real name: Valeria Fernandez) celebrates her sweet 15 by saying: “The more the years go by, the more hunger grows. Fear does not exist. Thank God for another year, 15 bro.” Way beyond her age, however, VF7 has evolved in her penmanship and melodies, experimenting with punk rock and perreo for a different approach. VF7 officially premiered her single “Restart” with Lele Pons, produced by Ninow & Candy, at the 34th annual Premio Lo Nuestro. — J.R.
Rubio, “Buena Suerte Muchacha” (Rubio)
Chilean singer-songwriter Rubio (real name Francisca Straube) gets deep and introspective in her new, piano-led single “Buena Suerte Muchacha,” which also serves as the theme song to Pantaya’s new series Señorita 89. A preview of her upcoming album, the track finds a nostalgic Rubio who is on a healing journey eager to find herself in the process. “Life is a game that if you don’t play, you become sick, with rocks in your backpack for not speaking from the heart,” she evocatively sings. — G.F.
