Outgoing YouTube Business Chief Robert Kyncl in Talks With Warner Music for CEO Role

Academy Awards – has died at the age of 75.Her passing was confirmed by the Academy of Motion Picture Arts and Sciences. In a statement shared with The Hollywood Reporter, a caretaker of Littlefeather’s said she died at noon on Sunday (October 2), surrounded by loved ones at her home in the Northern California city of Novato. An exact cause of death was not confirmed, however Littlefeather had long been open about her various struggles with ill health.Sacheen Littlefeather, Native American civil rights activist who famously declined Marlon Brando’s 1973 Best Actor Academy Award, dies at 75.

Soft Crash, the Berlin-based electronic duo of Phase Fatale and Pablo Bozzi, will share their first collaborative LP next month. Your Last Everything is due out October 28 via BITE, the label co-founded by Fatale (the Berghain resident born Hayden Payne stateside).

Jem Aswad Senior Music Editor Phil Collins and his Genesis bandmates Tony Banks and Mike Rutherford have agreed to sell their publishing copyrights and “a mix of recorded music-income streams” to Concord Music Group, the company confirmed to the Wall Street Journal on Thursday. Sources told the publication the deal was for upward of $300 million. The deal includes the solo material of all three, most notably Collins’ multiplatinum solo albums and Rutherford’s band Mike & the Mechanics, which achieved chart success in the 1980s. The catalogs of Peter Gabriel and other former members of Genesis were not included in the deal. A rep for Concord tells Variety an official announcement will be made Friday morning.

Jem Aswad Senior Music Editor With lead vocals by Springsteen, “Only The Strong Survive” features songs from the catalogs of Motown and Stax Records, the songwriting duo of Gamble and Huff and more. This album, Springsteen’s 21st studio outing, will also feature guest vocals by soul great Sam Moore, as well as contributions from the E Street Horns, string arrangements by Rob Mathes, and backing vocals by Soozie Tyrell, Lisa Lowell, Michelle Moore, Curtis King Jr., Dennis Collins and Fonzi Thornton. Bruce Springsteen commented: “I wanted to make an album where I just sang. And what better music to work with than the great American songbook of the Sixties and Seventies? I’ve taken my inspiration from Levi Stubbs, David Ruffin, Jimmy Ruffin, the Iceman Jerry Butler, Diana Ross, Dobie Gray, and Scott Walker, among many others. I’ve tried to do justice to them all—and to the fabulous writers of this glorious music. My goal is for the modern audience to experience its beauty and joy, just as I have since I first heard it. I hope you love listening to it as much as I loved making it.”

Jem Aswad Senior Music Editor Columbia Records has entered into a joint venture with former Capitol Records chairman-CEO Jeff Vaughn to launch Signal Records, the company announced Wednesday. The Los Angeles-based imprint will operate as a new label with Columbia Records of Sony Music Entertainment and begin operations immediately, with an artist roster to be announced in the coming weeks. As founder and CEO, Vaughn will lead the company’s creative direction and business development while utilizing Columbia’s marketing, promotion, and label services. Ron Perry, Chairman & CEO of Columbia Records, said, “I’ve admired Jeff’s work from afar for a while. He has incredible musical instincts, an infectious work ethic, and great passion. I’m looking forward to working together on this new chapter.”

Jem Aswad Senior Music Editor The family of Avicii, the late, multi-platinum-selling Swedish DJ, has sold 75% of his master recordings and publishing to Pophouse Entertainment, the Stockholm-based company co-founded by ABBA’s Bjorn Ulvaeus, which is behind that group’s multi-million-dollar “Voyage” show in London and other enterprises. The family and estate will maintain ownership of the remaining 25%. Terms of the deal, which is estimated to be for nine figures, were not disclosed. According to the announcement, a joint venture has been created between the family and estate of Avicii (real name: Tim Bergling) and Pophouse “to safeguard Avicii’s indelible legacy through future global endeavours,” such as the interactive tribute museum in Stockholm, “Avicii Experience,” that Pophouse and the Bergling family together opened in February.

Jem Aswad Senior Music Editor In a telling example of the state of the touring industry in 2022, indie artist Santigold has canceled her upcoming North American tour, citing the “devastating” costs due to inflation, soaring costs and the glut of artists on the road after pandemic restrictions lifted early this year.  “As a touring musician, I don’t think anyone anticipated the new reality that awaited us,” she wrote in a long and impassioned post on Instagram. “After sitting idle (not being able to do shows) for the past couple years, many of us like everyone else, earning no or little income during that time, every musician that could, rushed back out immediately when it was deemed safe to do shows. We were met with the height of inflation — gas, tour buses, hotels, and flight costs skyrocketed — many of our tried-and-true venues unavailable due to a flooded market of artists trying to book shows in the same cities, and positive test results constantly halting schedules with devastating financial consequences.

Jem Aswad Senior Music Editor Orlando Wharton has been named executive vice president of Capitol Music Group and president of Priority Records. The announcement was made by CMG chair & CEO Michelle Jubelirer, to whom Wharton will report.  According to the announcement, in his new position, Wharton will sign and guide artists across CMG’s portfolio of labels, and will relaunch the legendary Priority Records label as a dedicated home for new, developing and established hip hop artists.  Wharton will assume his positions at CMG early next year, and will be based at the company’s offices in New York. The announcement closely follows the company’s hiring of Doja Cat co-manager Gordan Dillard as EVP of A&R and artist development.

Jem Aswad Senior Music Editor In recent years, artists have created a booming business out of essentially putting their archives on tour — the “David Bowie Is” and “Rolling Stones Exhibitionism” — traveling exhibitions of their wardrobes, instruments and multiple other artifacts from their long careers. Well look out, because here comes “Pavements 1933-2022: A Pavement Museum” — a semi-jokingly titled international museum exhibition from the legendary indie-rock band featuring “previously unseen imagery, artwork and ephemera, commendations and commemorations, alongside rumored relics of the band’s real and imagined history (as well as exclusive merchandise and classic museum souvenirs),” according to the announcement. (The “1933” part is a deep reference to Pavement’s debut EP, “Slay Tracks 1933-1969,” which of course was released in 1989.)

Jem Aswad Senior Music Editor Days after top YouTube exec Robert Kyncl was named as the next CEO of Warner Music Group, the company revealed in an SEC filing that he will earn approximately $15 million in his first year on the job, depending on performance targets. When Kyncl’s name was first mentioned as a potential successor to outgoing CEO Stephen Cooper, who leaves after 11 years in the role, many wondered whether the job would be sufficiently appealing for the executive who led Netflix from DVDs to streaming and has been YouTube’s business chief for much of his 12 years at the company. However, the SEC filing makes clear that the job is financially appealing: He will receive a base salary of $2 million, a target performance-based bonus of $3 million and an annual grant of performance share units with an aggregate, pre-tax value of $10 million.

Jem Aswad Senior Music Editor Pharoah Sanders, an American jazz saxophonist whose career sprawled across six decades, has died at the age of 81. His death was confirmed to Variety by a representative for his label, Luaka Bop. “We are devastated to share that Pharoah Sanders has passed away,” the label’s statement reads. “He died peacefully surrounded by loving family and friends in Los Angeles earlier this morning. Always and forever the most beautiful human being, may he rest in peace.” His soulful playing and leading role in the style often described as spiritual jazz placed him at the edge of the genre’s innovation for many years, initially in bands with such explorers as Sun Ra (who dubbed him “Pharoah”) and John Coltrane and later by leading his own ensembles.

Jem Aswad Senior Music Editor The Temple of Dendur in the Egyptian art wing of New York’s Metropolitan Museum of Art is one of the most unique and visually arresting places in a city filled with them, containing the 2,000-year-old Temple itself along with other sculptures and pieces of art, a large reflecting pool and a giant, 25-foot-tall floor-to-ceiling window that extends the entire length of the hall and overlooks Central Park. It also may be the most unique and visually arresting music venue in the city. Over the years the room has hosted concerts by everyone from Interpol to the Estonian Philharmonic Chamber Choir, but it’s hard to think of a more fitting artist for such a setting than Pakistani singer Arooj Aftab, who won a Grammy earlier this year for her song “Mohabbat” from her latest album “Vulture Prince,” and was also nominated for Best New Artist.

Jem Aswad Senior Music Editor When the NFL announced at midnight ET that Apple Music is the new sponsor of the Super Bowl Halftime Show, the Swift-iverse went into overdrive speculating that Taylor Swift will be the performer: The announcement was made at midnight, Taylor releases her new music at midnight (er, like 99% of all major artists in the streaming age) and her new album is called “Midnights.” With no disrespect to the Swifties, there are actually many more-tangible reasons why Swift seems a likely front-runner for the Super Bowl Halftime Show — which, with an estimated 103 million viewers this year, is the single largest platform for a music artist in the entire world.

Jem Aswad Senior Music Editor There’s been no shortage of neo-R&B albums over the past few years, but so many of them are led by breathy female singers who feel like they’re singing in your ear — very few have had full-voiced singers at the forefront. And although Muni Long isn’t a belter and does put on the bedroom voice on a couple of tracks, her first full-length album is a blast of vintage ‘90s R&B that isn’t trying to be cute: It’s filled with frank lyrics about of love and sex from an artist who’s been around for more than a minute. Working under the name of Priscilla Renea, Muni has long been a songwriter whose soul and pop smarts helped forge hits such as Ariana Grande’s “Imagine,” Fifth Harmony’s “Worth It,” Rihanna’s “California King Bed,” along with tracks for Mariah Carey, Kelly Clarkson, Madonna, Mary J. Blige, Miranda Lambert, Selena Gomez and more.She released strong albums under that name too — 2009’s “Jukebox” and 2018’s “Coloured” — but neither of those records had the sparkle, innovation and warmth that her songwriting catalog contained. A change of name, an independently-released EP featuring the haunting, quirky hit “Hrs and Hrs,” and suddenly, Muni Long is a new artist with a remarkably seasoned and strong debut album.

Jem Aswad Senior Music Editor Compton-based house-music producer-singer Channel Tres has inked a deal that sees him joining RCA Records in partnership with L.A. indie Godmode. The partnership kicks off tonight with the release of the new single “No Limit,” with his debut full-length album “Real Cultural Shit” arriving later this fall. The album will also feature his singles from earlier this year, “Acid in my Blood,” “Ganzfeld Experiment” and “Just Can’t Get Enough.” Channel Tres, who has toured with Robyn, Vince Staples, Disclosure and Toro y Moi and performed at Coachella and New York’s Gov Ball, calls his style of dance music “Compton house”; it meshes the rhythms of Chicago house and Detroit techno with the bite of West Coast rap.

Jem Aswad Senior Music Editor Since the dawn of radio, the United States has been and remains the only major country in the world where terrestrial radio pays no royalties to performers or recorded-music copyright owners of the songs it plays — a situation that is largely due to the powerful radio lobby’s influence in Congress. While the more than 8,300 AM and FM stations across the country pay royalties to songwriters and publishers, they have never paid performers or copyright holders, although streaming services and satellite radio do. On Thursday morning, Senators Alex Padilla (D-Calif.) and Marsha Blackburn (R-Tenn.) introduced the bipartisan American Music Fairness Act, which aims to rectify that situation by “ensur[ing] artists and music creators receive fair compensation for the use of their songs on AM/FM radio. This legislation will bring corporate radio broadcasters up-to-speed with all other music streaming platforms, which already pay artists for their music.”

Robert Kyncl, a 12-year veteran of YouTube’s senior executive team, will become CEO of Warner Music Group on January 1.

Jem Aswad Senior Music Editor After a fast courtship, outgoing YouTube head of business Robert Kyncl has been named CEO of Warner Music Group and will replace Steve Cooper when he steps down next year.  According to the announcement, Kyncl and Cooper will serve as co-CEOs for the month of January 2023. As of February 1, 2023, Kyncl will become sole CEO of WMG and assume Cooper’s board seat on WMG’s Board of Directors. Kyncl brings strong music-industry experience to the job: YouTube is both the world’s largest video-streaming platform and the largest music-streaming platform, and he played a huge role in its negotiations with labels and publishers and generally received high marks (remarkably, considering the often-contentious relations between the two sides). He’s also pioneering force in the streaming business: Before he was chief business officer of YouTube, he led Netflix from DVDs to digital.

Jem Aswad Senior Music Editor As it did with Taylor Swift earlier this year, New York University’s Clive Davis Institute has introduced a course on Lana Del Rey for this fall. Taught by journalist and author Kathy Iandoli, the two-credit course, “Topics in Recorded Music: Lana Del Rey” runs Oct. 20-Dec. 8. According to an NYU rep, the course will examine Del Rey’s contributions to 21st Century pop stardom, her relationship to feminism, her musical influences and artists she has influenced, and her connection to social justice movements such as  #BlackLlivesMatter, #MeToo and #TimesUp. Del Rey was honored with the Decade Award at Variety‘s Hitmakers event in December.

Jem Aswad Senior Music Editor Influence Media Partners has acquired Grammy-winning Future’s publishing catalog from 2004 to 2020, the company announced. The prolific rapper’s work from those years spans 612 titles, including titles with frequent collaborator Drake (“Life Is Good,” “Jumpman”), Kendrick Lamar (“King’s Dead”), Rihanna (“Selfish”), and the Weeknd (“Low Life”) and his own solo hits like “Mask Off.” A source close to the situation tells Variety the deal was in the “high eight figures.” Rene McLean, Influence Media partner and founding advisor, said, “Future is a cultural icon. He continues to be a blueprint for impact and success in the music industry and has reinvented music in ways that no one has ever expected. It is rare to find someone who moves music and culture at the same speed with his distinct vocal and melodic style. His prolific career and continued popularity more than 15 years into the game is a testament to his undeniable influence on the contemporary music and culture landscape. We’re honored to be partnered with him.”

Jem Aswad Senior Music Editor Def Jam Recordings has entered into an exclusive worldwide joint venture partnership agreement with the Lagos, Nigeria and UK-based Native Records. The announcement was made by Def Jam chairman/CEO Tunji Balogun and Seni “Chubbz” Saraki and Teni “Teezee” Zaccheaus, co-presidents and co-founders of Native Networks. Native Records is the music division of Native Networks, a black-owned and operated, multi-platform, multi-disciplinary media and content company “dedicated to the discovery and development of young African artists and youth culture” via its Native print and digital magazine, its Nativeland festivals and more, according to the announcement. Founded in 2016 by Saraki and Zaccheaus with Shola Fagbemi, Addy Edgal and Suleiman Shittu, the label has been a driving force in the Afrobeats movement.

Jem Aswad Senior Music Editor Though she’s just 22, Noah Cyrus has seen some stuff. As Miley’s younger sister, her music and acting careers launched early — at 16 and 2 (!), respectively — and she released several pop-leaning singles and EPs during her teens, opened an arena tour for Katy Perry in 2017 and was even nominated for a Best New Artist Grammy in 2021. On the less positive side, there was substance abuse, a bad relationship and lockdown isolation — but she overcame all of it, and that battle informs nearly every song on “The Hardest Part,” her long-percolating debut album, which sees her truly finding her voice in a way that her previous recordings only hinted at. Surprisingly or no, the Nashville native did it by returning home, musically speaking. Although her main collaborators here are Northern Irish producer Mike Crossey (Arctic Monkeys, the 1975) and Australian songwriter PJ Harding (Chromeo, Ruel), the sound is country-leaning, heavy on harmonies, organic instrumentation and Music Row-friendly melodies; its big, stacked harmonies recall everything from the Chicks to Boygenius.

Jem Aswad Senior Music Editor What a long, strange trip the long-lost Creedence Clearwater Revival Royal Albert Hall concert album and film has taken in the half century since it happened. The show and the on-the-road footage were recorded by the BBC during the group’s first European tour in April of 1970, but never broadcast. The recording presumably got hung up in the notorious legal battles between the group and its original label, Fantasy Records, although footage from the concert popped up at various times over the decades (even in a TV commercial for a budget Creedence greatest-hits album in the ‘80s). Even more confusingly, Fantasy released a very similar live album titled “The Royal Albert Hall Concert” before realizing that the tapes had been mistakenly labeled and the album was actually recorded ten weeks earlier and 5,000 miles away at the band’s triumphant Oakland Coliseum homecoming concert (the album was quickly retitled “The Concert”).

Jem Aswad Senior Music Editor Considering their short lifespan and relatively slim discography, the Velvet Underground may be the most thoroughly excavated and documented rock band of their era: Nearly every studio and concert recording, acetate and demo has been scrutinized, digitized and optimized for the many awesome boxed sets that have been released since the world caught up with the group’s brilliance in the 1980s, a dozen-odd years after they split up. The foundation of that brilliance, of course, is Lou Reed’s songwriting, which combines a novelist’s gritty realism with equally confrontational rock music, but also includes soft, vulnerable songs like “Pale Blue Eyes” and “I’ll Be Your Mirror” — songs that are all the more poignant because you can sense, somehow, that the sensitive soul who wrote them isalso kind of an asshole.

Jem Aswad Senior Music Editor The first thing to know before seeing “Moonage Daydream,” Brett Morgen’s dazzling, exhaustive and exhausting memoir of David Bowie’s life and career, is that it assumes the viewer already knows a lot about the subject — his relevance, his influence, the brilliance of so much of his music, and the basics of his personal history. Like another recent historical film about an oft-trodden subject — Todd Haynes’ “The Velvet Underground” — it eschews the standard, chronological, done-to-death “Behind the Music”-style template that has become a predictable default for music documentaries and finds a dramatically different way to tell the story. In the case of “Moonage Daydream” — the significance of the second word of the title in this impressionistic film cannot be overemphasized — that different way is to let the man himself do all of the talking: Literally the only voiceovers heard in this 135-minute-long film are from Bowie (presenting real or conveniently fictionalized accounts of his life and work) and various interviewers. While that makes for an unusually free-form approach to structuring a documentary (and was enormously challenging for Morgen, who worked on the film for over four years and suffered a heart attack while doing it), in many ways it’s freeing: Instead of a rigid timeline or forced, overarching theme dictating the narrative, Bowie’s words do.

Jem Aswad Senior Music Editor Rina Sawayama is one of a handful of artists who released an album just as the pandemic was beginning and watched, astonished, as their stars rose during lockdown. The Japanese-British singer’s debut, “Sawayama,” was a wild fusion of Lady Gaga with nu-metal guitars, but also showed a penchant for sentimental ballads amid the power chords and intensity. The album won a co-sign from none other than Elton John, and its videos got her cast in the fourth installment of Keanu Reeves’ “John Wick” series, due in March. In fact, Elton was one of many people who spoke out against Sawayama’s exclusion from eligibility for England’s BRIT and Mercury awards because she isn’t a U.K. citizen, even though she’s lived in England since the age of 5. After #SawayamaIsBritish became a trending topic on Twitter, the British Phonographic Industry changed the eligibility rules to include anyone who lived in the country for at least five years, including her.

Jem Aswad Senior Music Editor While the title of the “world’s greenest music festival” may be impossible to determine with total accuracy, Norway’s long-running Øya is as close as it gets. The festival — which has featured Kanye West, Kendrick Lamar, Robyn, Lana Del Rey, the Cure and hundreds of Norwegian acts since it launched in 1999 — has been named an “Outstanding” honoree by the international non-profit A Greener Festival nine out of the last 10 years the awards were held, and is certified as an “Environmental Lighthouse” by the Norwegian foundation of the same name. In 2010, it even received an honorary award from Norway’s minister of agriculture for its work in promoting organic food. 

Jem Aswad Senior Music Editor Michelle Branch appeared on the “Tamron Hall Show” Thursday to address her recent martial problems with her husband, the Black Keyes’ Patrick Carney, which saw her arrested for domestic disturbance. “They are not allegations,” she told Hall, according to Rolling Stone. “Violence — I don’t condone violence. I slapped my husband. Not the finest moment of my life.” The singer said several factors contributed to the incident, including postpartum depression and having had “a few drinks” at a friend’s birthday party. Branch, 39, and Carney, 42, married in 2019; their son was born the previous year and their daughter this past February. Branch filed for divorce on Aug. 12, citing irreconcilable differences.

Jem Aswad Senior Music Editor There’s a good chance that you’ve never heard the name Richard Gottehrer — but there’s an equally good chance that if you’re even a casual music fan, you know something, or several things, he’s done very well. As a songwriter in the early ‘60s, he co-wrote such hits as “I Want Candy,” “My Boyfriend’s Back” and “Sorrow.” As a producer, he helmed classic albums by Blondie, the Go-Go’s, Richard Hell, Joan Armatrading, the Raveonettes and the Dum Dum Girls among many others. As an artist, he formed a short-lived group called the Strangeloves with songwriting/producing partners Jerry Goldstein and Bob Feldman that nonetheless racked up several hit singles (including the original “I Want Candy”). As an executive, he co-founded Sire Records with Seymour Stein in 1966, and 30 years later, he co-founded the Orchard with Scott Cohen. Now owned by Sony Music, that company is one of the world’s largest distributors of independent music.

Jem Aswad Senior Music Editor It’s surreal enough that the legendary Rough Trade record store — an indie-rock mecca that was born in punk-era London and opened a sprawling location in Brooklyn’s hipster heaven Williamsburg in 2013 that sadly did not survive the pandemic — is now located in Rockefeller Plaza in the heart of Midtown Manhattan, literally in the same building as NBC. Things will get even more surreal this weekend, when “Indieplaza 2022” — a free music festival co-presented by Rockefeller Center and Rough Trade featuring a bevy of up-and-coming acts — will take over Rockefeller Plaza on Saturday and Sunday. Highlights include an hour-long DJ set from Ali Shaheed Muhammad of A Tribe Called Quest, singer-songwriter Claud, rapper-singer Yaya Bey, rockers Horsegirl and Steve Gunn, and many more (the full lineup and set times appear below).

Jem Aswad Senior Music Editor Reach Music Publishing has acquired a 50% copyright interest — together with 100% of the writer’s share, including global administration rights — in the song catalog of Public Enemy’s Chuck D, one of the most influential rappers and lyricists in hip-hop history. Further terms of the deal were not disclosed. As a founding member and chief songwriter of Public Enemy, Chuck D co-wrote nearly all of the group’s songs, including such classics as “Fight the Power” (theme song to Spike Lee’s 1989 film “Do the Right Thing”), “Bring the Noise,” “Welcome to the Terrordome,” “Shut ‘Em Down,” and “He Got Game,” all of which are included in the Reach Music acquisition. In total, over 300 songs are included in the deal. 

Jem Aswad Senior Music Editor YouTube, the world’s largest streaming platform for music, announced that it has paid more than $6 billion to the music industry in the 12 months between July 2021 and June 2022 — some $2 billion more than it said it paid in the previous 12 months. Like last year, the announcement comes in the form of a blog post from the platform’s head of music, Lyor Cohen. While short on specifics, the post does outline some of the contributing factors. “We want our twin engine of ads and subscriptions to be the #1 contributor of revenue to the industry by 2025,” Cohen wrote. “That’s why YouTube is monetizing all music formats (short & long form video, audio tracks, Live, etc.), on all platforms (desktop, tablet, mobile, and TV), in over 100 countries. And overall watch time of music content on YouTube across desktop, tablet, mobile, and TV continues to grow year over year.”

Jem Aswad Senior Music Editor Harry Styles has announced that he is partnering with non-partisan voter-engagement organization HeadCount in an effort to inspire his U.S fans to check their voter registration status and vote in this year’s midterm elections — and he’s throwing in a free trip to his legendary “Harryween” Halloween concert as an incentive.

Jem Aswad Senior Music Editor Grammy-winning producer-songwriters Hit-Boy and James Fauntleroy have signed on as  co-executive producers and the sonic creative team for the “NFT supergroup” Kingship. Together, the pair will work with Arnell, Kingship’s “Mutant DJ and Producer,” to oversee the group’s music direction and sound.  “I’m always looking to push things forward musically,” said Hit-Boy, who has worked with Beyonce, Rihanna, Jay-Z, Kendrick Lamar, Kanye West and many others, “and this is a great opportunity to do something new in the web3 space.” Fauntleroy, who’s collaborated with Beyonce, Rihanna, Drake, Nipsey Hussle and others, added, “It’s so exciting to be a part of something historical and ambitious. As a huge nerd, and music fanatic, I can’t wait to see what comes from the intersection of the web3 collectors/creatives and the entertainment creative community.”

Jem Aswad Senior Music Editor YouTube’s royalty system has long been criticized by multiple music-industry organizations for opaqueness, a lack of oversight and, many feel, insufficient payments. But a new report in Billboard makes a number of detailed allegations, supported by claims from a number of unnamed sources, who say that YouTube — which is the single largest streaming service for music in the world — has a rights-management system that is “full of errors” and “ripe for abuse,” and claim that Create Music Group, which initially established itself as a royalty-collection service for music companies, frequently collected royalties to which it is not entitled. Create co-founder Jonathan Strauss categorically denied those claims, and said the company’s claims are always guided by its clients’ deals — “CMG does not input or remove shares without authorization.” In a statement to Variety, a rep for Create said: “At Create Music Group we work tirelessly to ensure that our clients, independent artists and labels, receive all of the revenue that they are entitled to. We take that responsibility very seriously. We unequivocally deny, however, the assertion made in the Billboard article by our competitors that we “game the system,” and the data proves this out. More than 90% of the conflicts created by our competitors, over 26,000 in all, have been settled in our favor. We follow both the letter and spirit of the rules YouTube has set up for our industry and are very proud of our track record in this regard.”

Jem Aswad Senior Music Editor Amid the series of bombshells about her family, her conservatorship and business managers Britney Spears has dropped on her Instagram account, on Sunday she posted a lengthy message in which she says that she will “probably never perform again.” After writing about the lack of creative control she was allowed during her conservatorship, particularly with music videos and photographers, she took aim at her father and former conservator, Jamie Spears. “…[T]he most offensive SO CALLED professional pictures on every tour,” she said. “I mean they could have at least cheated and retouched them for me … just saying … 2 day shoots for new show in Vegas literally the worst ever … and me excited for the pictures for 5 months on tour … they never showed me any. I’d rather quit shit in my pool and shoot photos of myself in studios over working with the most offensive people in my life.”