To get a sense of how complicated it is to grant an AI company a license to train its algorithm on copyrighted work, imagine for a moment that you run a European collecting society that distributes royalties to songwriters and publishers. For the sake of this example, let’s say that this organization is called COMPLEX (the Cooperative for Original Music Publishing Licensing Excellence) and that it represents public performance and mechanical rights for the fictional country of Freedonia, which it licenses for revenue of about $200 million a year.

Many AI companies are already scanning the work you control — I’m skipping the usual “allegedly,” since this is hypothetical — and you want to make them pay to do so. Then, one day, another AI company comes to you and says it wants to do just that — scan all of your works and use them to train its algorithms. In return, it’s willing to give you a one-time payment of $300 million, with no further obligations on either side. All you have to do is sign the deal, take the money and… then what?

Would you take the deal? The question takes on new urgency now that STIM, the Swedish collecting society, announced on Sept. 9 that it had set up the first collective licensing deal for AI training. That followed an early-August deal between ElevenLabs and Kobalt and Merlin. It is still unclear in the U.S. whether the copying of works to train an AI algorithm even requires a license, so these deals should probably be seen as experiments.

I’d argue that you shouldn’t take the deal — if you even could, based on what rights you controlled for which territories. Analyzing a work requires ingesting it, which in turn requires making a copy. That involves copyright law, under which this would be considered a mechanical reproduction. It is not settled as to whether using an AI algorithm involves making a copy, but it’s obvious that training one does. So it’s possible — not definite, but possible — that each AI company only needs to copy a work once.

So that $300 million payment could be the only one you’d ever get. And once you get it, your songwriters will have to compete with an algorithm that can use their works to churn out an enormous volume of similar music. And that assumes you could even sign such a deal without the permission of rightsholders — both the STIM and Kobalt deals are opt-in — plus figure out where the deal would apply. But the big issue is that rightsholders essentially need to find a way to control the horse after it has left the barn.

The 4 billion Euro question — based on CISAC’s estimate of the value of generative AI music in 2028 — is how rightsholders can use the rights they can license as a lever to exercise some control over the rights they can’t. Some of this is just practical — they need to have some sense of how much algorithms rely on different works in order to pay out royalties from whatever agreements they make. (In the example of the $300 million offer, how would COMPLEX deal with that revenue?) But some of it is strategic: As AI uses copyrighted songs to create new ones, rightsholders deserve an ongoing revenue stream, both because these new creations are built on their work and because those creations will inevitably compete with theirs.

GEMA’s licensing model, presented a year ago, in September 2024, says that “a one-off lump sum payment for training data is not nearly sufficient to compensate authors in view of the revenues that can be generated.” The idea is that songwriters get paid based on how often their works are used to generate new ones. STIM’s license, really a pilot project, takes this a step further, compensating rightsholders with a share of revenue when their works are used by generative AI algorithms and potentially then again when AI music based on their work is used.

That’s one hell of a lever. Not only does this agreement impose an obligation on AI companies that license works for training purposes, it puts that obligation on the work they create. It’s especially interesting because in most countries, music created by AI is not covered by copyright, so it can be used freely. This would potentially give rightsholders the ability to benefit from that work under contractual rules. If it works, of course. It’s hard to know if it will — and it’s hard to imagine that the AI licenses that will be used in 2035 will look anything like these. But we are seeing the first moves to shape a new business, and they could be quite influential. Next week I will write about how they will be influential in ways that aren’t immediately obvious.

A judge ruled that the former housekeepers accusing Smokey Robinson of rape can stay anonymous at this stage of the lawsuit, which is scheduled to go to trial in 2027.

During a hearing in Los Angeles court on Thursday (Sept. 11), the 85-year-old Motown singer lost his bid to unmask four women who sued him for rape under “Jane Doe” pseudonyms earlier this year. While Robinson knows the names of these women, who allege they were assaulted while working as his housekeepers, the singer and his lawyers are not currently allowed to reveal the women’s identities to the public.

Robinson vehemently denies raping the women and has countersued them for defamation. His attorneys have also been trying to win the case in the court of public opinion — and say de-anonymizing them is key to that endeavor.

“They want to make a very public situation out of this, and then they want to hide the ugly facts, the contradictory facts,” Robinson’s chief lawyer, Christopher Frost, told Judge Kevin C. Brazile on Thursday.

Frost said his team has learned information that bears on the credibility of the plaintiffs — including that two of them are sisters — and added it’s not fair that he’s unable to fully share these details with the public. But Judge Brazile was unconvinced.

“For now, this early on in this case, I don’t think their identities need to be revealed,” said the judge. “Maybe later… For now, let’s just keep it status quo. I’m not saying it’s going to stay that way throughout the whole litigation.”

Judge Brazile said he’ll likely allow an exception to this rule of anonymity so that Robinson’s lawyers can use the women’s names on witness subpoenas. He also noted that the plaintiffs’ identities will come out when the case goes to trial in October 2027.

The 2027 trial date is new as of Thursday’s hearing. Though two years seems far away, it’s actually sooner than the three-year average wait time for trials in Judge Brazile’s courtroom. The judge sped the timeline up slightly due to Robinson’s advanced age — though Frost said the singer is “in better shape than I am.”

“You say Mr. Robinson is in good health and that’s great, but three years is a long time,” Judge Brazile told Frost in explaining his decision to expedite the case.

The bitter legal fight began in May, when the former housekeepers filed a $50 million civil lawsuit claiming Robinson forced them to have oral and vaginal sex in his bedroom dozens of times between 2007 and 2024.

The four Jane Does then made a police report to Los Angeles criminal authorities, followed by a fifth woman two months later. The Los Angeles County Sheriff’s Department is still investigating the matter and has not filed any charges.  

Robinson maintains that he never touched these women, and that they concocted false claims out of an “extortionate scheme” to win settlement money. While legal claims are shielded from defamation liability, Robinson’s countersuit says the women and their lawyers also disparaged him at a press conference when the lawsuit was filed.

Deezer says it’s now receiving more than 30,000 fully AI-generated songs every day, amounting to over 28% of all songs delivered daily to the platform. This is the third announcement from Deezer this year tracking its findings about AI music on the platform, which has increased rapidly since January.

In its first announcement, which came on Jan. 24, Deezer said its new AI detection tool had found that 10% of songs delivered daily were fully AI-generated. To mitigate this growth, the platform also announced at the time that it would develop a tagging system to add disclaimers to fully AI-generated works detected on the platform, adding that those AI songs would be removed from algorithmic and editorial recommendations to provide a boost to human-made music. The company said these figures did not count songs that were partially assisted by AI, noting that it only had the capability of flagging AI use from a handful of popular AI music models, including Suno and Udio.

For this reason, Deezer’s director of research, Manuel Moussallam, told Billboard in a June interview that “we were very conservative in the numbers we reported [in January]. We didn’t want any false positives.” Just a few months later, in April 2025, Deezer adjusted its claims, saying that fully AI-generated songs accounted for 18% of daily uploads. In the June interview, Moussallam said that by April, “our data just got better” and that the jump was largely due to improvements in Deezer’s detection and tagging system: “I think the 18% [figure] is actually much more accurate and closer to what we actually saw from January, but still, that number is increasing,” he continued.

Among streaming services, Deezer has so far been the most vocal and proactive about AI-generated content on its platform. Larger streaming services have been much more hesitant to create AI policies or talk about them publicly. Amazon and Apple have yet to speak publicly about their approach to AI music on their services, and Spotify does not have any rules about AI music specifically. Instead, they police negative uses of AI-generated songs on the platform with pre-existing rules barring impersonation, spam or artificial streaming — three common uses for AI technology among bad actors.

SoundCloud, however, does have a policy that “prohibit[s] the monetization of songs and content that are exclusively generated through AI, encouraging creators to use AI as a tool rather than a replacement of human creation,” a company spokesperson says.

Launched by BigHit Music as the label’s first new group in six years, CORTIS has been widely seen as the next act to follow in the footsteps of BTS and TOMORROW X TOGETHER.

From their manifesto-like debut track “GO!” to the punchy “What You Want,” their music is marked by free-spirited energy and refreshing visuals. Even before debut, the group caught attention for participating in overseas songwriting camps, setting them apart from the typical rookie path.

On Monday (Sept. 8), the group unveiled their first album, COLOR OUTSIDE THE LINES, with a commemorative release event. This was CORTIS’ first stand-alone concert under their own name — and also their largest stage to date. The venue, with just under 8,000 seats, carries its own symbolism, as BTS also stood on the same stage roughly a decade ago. Every seat was filled, while fans from 190 countries tuned in via Weverse, HYBE Labels’ official YouTube channel and TikTok. The event was designed to introduce the album in the members’ own words, premiere new performances and create lasting memories with fans.

The lights dimmed, and as the first heavy beats dropped, the anticipation for CORTIS’ arrival reached its peak. In a surprising move, the group didn’t appear from the main stage but emerged instead through the ground-floor entrance aisle, immediately catching the audience off guard. The unexpected entrance segued into the first-ever performance of their follow-up track “FaSHioN,” a song choreographed with input from the members themselves. After its powerful, addictive energy contrasted with earlier releases “GO!” and “What You Want,” the members briefly addressed the crowd before launching into “GO!,” the very song that first introduced CORTIS to the world. They then offered behind-the-scenes stories about the making of their debut album and music videos. “We wanted to keep things casual with you, so we decided to go without an MC,” leader Martin explained, displaying the poise and confidence of a seasoned frontman. During the “album brag time,” the members described their project as “complicated yet simple, just like our inner selves,” “an honest album,” and “all about freshness.”

Soon after, the stage transformed into “the hideout,” a set designed to resemble the members’ own studio space. Here, they reminisced with fans by sharing memories attached to five emojis drawn on Post-its, recalling their early days before debut. Inspired by “FaSHioN,” the group launched into a fan event to find the “Best CORTIS Look-Alike.” Juhun and James roamed the second-floor seats while Martin, Gunho, and Sunghyun descended into the first floor, delighting fans with up-close interactions. Fans couldn’t hide their excitement as they exchanged high-fives and hand hearts with the members, amplifying the energy in the venue.

Later, after a costume change, CORTIS returned to the stage with a jaw-dropping expansion of their already-acclaimed treadmill performance of “What You Want.” While they had previously performed with 11 treadmills on a music broadcast, this time the number swelled to 31. Even while dancing on the moving machines, the group executed flawless choreography and led the crowd into synchronized waves of cheers.

The mood shifted again with the first live stages of album tracks “JoyRide” and “Lullaby.” Where earlier songs had highlighted the group’s intensity, these numbers showcased restraint and emotional depth. “JoyRide” unfolded with the warmth of a carefree drive through Malibu, while “Lullaby”—which Martin singled out for its favorite opening lyric, “Why turn on the A/C when it’s already cold?”—captured the suffocating pressures of adolescence. The music video for “Lullaby” also premiered during the event, just before fans passionately demanded an encore of “FaSHioN.” Donning T-shirts printed with fan notes, the group charged across the stage with even greater abandon than before.

As the concert neared its conclusion, emotions ran high. Eldest member James shed tears while expressing gratitude: “Thank you so much to everyone who came today.” Having endured the longest trainee period among the members, his words carried palpable weight. Sunghyun was visibly moved as well, while Martin addressed the crowd with steady conviction: “Thank you sincerely for filling this space today. It’s going to be a long journey, but we hope you’ll stay with us.” The group then delivered “What You Want” in a special handheld mic version.

But the night didn’t end there. Fueled by fans’ unrelenting chants, CORTIS surprised everyone with an unscripted double encore, once again performing “FaSHioN.” A final photo session—a hallmark of K-pop shows—closed out the two-hour release party. Even as the curtain fell, the members waved until the last moment, while fans lingered outside the venue, reflecting on the unforgettable experience.

CORTIS’ debut has not been without scrutiny. Their first single “GO!” drew attention for its surprisingly polished execution, especially for a group composed entirely of minors. Their self-produced original music video for “What You Want” even sparked speculation over whether it was “too staged.” Yet the release party put such doubts to rest, offering authenticity in abundance. From revealing the decision to use 360-degree cameras in the MV to anecdotes like naming “Lullaby” after catching a member asleep on the studio couch, CORTIS demonstrated how deeply involved they are in every facet of their artistry.

Despite being rookies, they commanded the stage without an MC for more than two hours, filling the time with stories, music, and natural charisma. Their flawless execution of demanding choreography, ease in navigating a large venue, and genuine passion for music all underscored that their talent speaks for itself. Their eyes sparkled whenever they talked about music, and Martin’s promise—“We’ll continue to show you stages that you love, as artists who love music just as much”—resonated as proof of their sincerity.

The release party was not simply a debut showcase. It was a declaration of intent from a self-proclaimed “young creator crew,” determined to carve out their own path rather than conform to prescribed standards.

Instead of conforming to ready-made answers or rigid molds, CORTIS created their debut album ‘COLOR OUTSIDE THE LINES’ with the determination to draw their own lines. On its first day, the album sold 247,295 copies, marking the highest debut-day sales among rookie groups this year, and within three days, cumulative sales surpassed 310,000. The global response has been equally striking: the album entered the U.S. Apple Music Top Albums chart (Sept. 9) at No. 65, debuted on the U.S. iTunes Top Albums chart (Sept. 11) at No. 88 before climbing to a peak of No. 32, and landed at No. 2 on Japan’s Oricon Daily Album Ranking (Sept. 9). In China, every track from the album entered QQ Music’s Rising, Popularity, and New Song charts. With such overwhelming attention on their debut and the sincerity the five members displayed at their release party, anticipation is running high to see how CORTIS will continue to shape their one-of-a-kind color.

Bert Berns, the late songwriter whose many hits include “Twist and Shout,” “Piece of My Heart,” “Hang on Sloopy” and “I Want Candy,” was inducted posthumously into the Songwriters Hall of Fame in a ceremony held on Wednesday (Sept. 10) at 54 Below cabaret club in New York City.

Berns died more than a half-century ago, so while his name may not be familiar to all, his songs are.

“Twist and Shout” was a top 20 hit on the Billboard Hot 100 for The Isley Brothers in 1962 and a No. 2 smash for The Beatles in 1964. The Beatles’ recording returned to the top 30 in 1986, when it was featured in the box-office hit Ferris Bueller’s Day Off.

“Piece of My Heart” was a No. 62 hit on Hot 100 hit in 1967 for Erma Franklin (Aretha’s elder sister) and a No. 12 smash in 1968 for Big Brother & the Holding Company, with Janis Joplin out front.

“Hang on Sloopy” was a No. 1 hit in 1965 for The McCoys. It was also a No. 11 hit that same year for Ramsey Lewis Trio.

“I Want Candy” was a No. 11 hit on the Hot 100 in 1965 for The Strangeloves.

Other hits that Berns wrote or cowrote include The Exciters’ “Tell Him” (No. 4 on the Hot 100 in 1963), Betty Harris’ “Cry to Me” (No. 23 in 1963) and Wilson Pickett’s “Everybody Needs Somebody to Love” (No. 29 in 1967).

In addition, he produced songs he didn’t have a hand in writing, including The Drifters’ “Under the Boardwalk” and Van Morrison’s “Brown Eyed Girl,” both of which made the top 10 on the Hot 100.

The event was hosted by musician Paul Shaffer and Berns’ son Brett and daughter Cassandra. Tributes included video messages from SHOF inductees Paul McCartney and Van Morrison. Guests included Steven Van Zandt and SHOF inductee Steve Miller. Also in attendance were industry veterans Joel Selvin, Russ Titelman, Avery Lipman, Kenny Laguna and SHOF Board members Charlie Feldman and Pete Ganbarg, chairman of the SHOF Legacy Committee.

The celebration of Berns’ legacy included live performances by Cassandra Berns, singer Betty Harris, Tony-nominated actress Mary Bridget Davies (A Night With Janis Joplin) and Broadway stars from the musical Piece of My Heart: The Bert Berns Story. Highlights included a performance of “Cry to Me” by Harris, an artist signed to Berns’ Jubilee record label. The night concluded with Fenkart leading the audience in a finale of “Twist and Shout.”

The annual SHOF gala in June does not normally include posthumous inductions – the SHOF prefers that event to have a celebratory mood. But the organization has started hosting special posthumous inductions at unique venues and events. In April 2024, it awarded Cindy Walker, whose many hits included the cross-genre classic “You Don’t Know Me,” in a special event at historic Columbia Studio A in Nashville. Walker died in 2006 at age 87.

“The ceremony at Columbia Studio A was warm, intimate, and respectful,” SHOF board member Fletcher Foster said in a statement at the time of the ceremony for Walker. “SHOF president and CEO Linda Moran says this now sets the stage for future posthumous inductions.”

Deceased writers to be considered for posthumous induction were included in a special segment of the 2025 SHOF ballot.

In 1963, Berns’ work with Solomon Burke caught the attention of Atlantic Records’ chiefs Ahmet Ertegun and Jerry Wexler, and he joined the label as a producer, replacing Jerry Leiber and Mike Stoller. He flourished under the encouragement of Wexler. In 1965, he started his own rock n’ roll label, BANG Records, whose roster included the likes of Neil Diamond, Van Morrison and The McCoys. The following year, he established R&B and soul music label Shout Records.

Berns, who had a history of cardiac trouble, died in his New York apartment of heart failure in December 1967 at age 38.