Nature gets its own artist page on Spotify to support global conservation efforts
In a new initiative aimed at raising funds for global conservation efforts, nature now has its own artist page on Spotify. This endeavor from the “Sounds Right” project is backed by the United Nations, with a goal of utilizing music as a tool for protecting and restoring the environment.
The project curates a playlist featuring songs that incorporate sounds from nature such as rainfall, animal calls or gusts of wind. The playlist also includes tracks from artists like David Bowie, Ellie Goulding and V from BTS. Just like any other musician on the audio streaming platform, “NATURE” will receive royalties based on the number of listens generated.
Half of the royalties that NATURE’s artist page brings in will be allocated to the environmental nonprofit charity EarthPercent. The group will then distribute the funds to various conservation initiatives around the world.
Sounds Right has identified organizations for potential funding which operate in the regions of India, Indo-Burma, Myanmar, Philippines, Atlantic Forest, Tropical Andes, Madagascar, the Indian Ocean Islands and Sundaland. Forbes estimated that this initiative could generate more than $40 million over the next four years.
Over that span, the Sounds Right project hopes to reach more than 600 million individual listeners. Following its launch on April 18, the initiative already garnered more than 2.5 million listeners in its first month of operation alone.
Take note: Jelly Roll, Pink among music industry’s latest trademark cases
Musicians’ intellectual property and trademark law have intersected several times in recent years. The singers Jelly Roll and Pink are just two of the artists involved in the latest trademark cases hitting the music industry.
Jelly Roll — a Grammy-nominated country music superstar whose real name is Jason DeFord — is being sued by Jellyroll, a Pennsylvania-based wedding band, for alleged trademark infringement.
To be clear, this is a trademark case, not a copyright one.
Donald Harris, the associate dean for Academic Affairs and Diversity, Equity and Inclusion liaison at Temple University, is a law professor. When asked to clarify the difference between trademark and copyright, Harris responded as only an expert can.
“Trademark is a source identifier,” Harris said. “That’s what it protects. If you have a mark, it identifies the source from which the products or services, the goods or services come from. If it doesn’t have this source identification feature, then we don’t protect it.
“Copyrights, we’re protecting literary and artistic works, and we’re protecting the author’s right to exploit those works. So two different things, one is talking about creativity, one is talking about brand or source identification.”
In Jellyroll v. Jelly Roll, the band, which has performed for weddings and big events along the East Coast — including for former President George W. Bush at the White House — said it has been using the name Jellyroll since 1980, obtained a trademark in 2010 and renewed it in 2019.
“In this case, Jellyroll the band has got a mark for that name for their entertainment services, singing, live music in a band and their claim is that serves as a source identifier, and that someone else coming in and using it now is going to confuse consumers,” Harris said. “And so the test for infringement is likelihood of confusion. Are consumers likely to be confused when someone else is using the mark and be confused as to the source, that it’s coming from the actual mark owner?”
The suit points to the singer being born in 1984, four years after the band started using the name. It emphasizes that the singer didn’t start using the name Jelly Roll, a nickname given to him as a child by his mother, professionally until 2010 — the same year the band got its trademark.
The band claims the singer’s infringement of the mark is creating confusion in the marketplace. But remember: this case is about likelihood of confusion — not actual confusion.
Confused? Professor Harris can help.
“What you need to show is not actual confusion, just the likelihood that consumers are going to be confused,” Harris said. “Most courts use a multi-factor test to determine whether there’s likelihood of confusion. You look at things such as the similarity of the names, the similarity of the goods, the sophistication of the consumers, whether they are in the same market, when there’s any bad faith, a number of different factors to determine this likelihood of confusion.”
One place the band said the singer is infringing on its business is in Google searches. Jellyroll claims that the band would top Google’s search index years ago. Now, however, users have to scroll through roughly 20 links to get to one about the band. Harris said this evidence falls on the suit’s claim of dilution.
“The concept with dilution is that someone else is now using the mark and it’s not likely to confuse consumers, but now we’re no longer going to be able to bring to mind just one Jellyroll,” Harris said. “So we’re diluting the significance of the original mark. And I think that that’s where they’re going with that. I think that’s also going to be a really tough cause of action to prove because in order to have a dilution cause of action, you’d have to prove that your mark is famous and that it’s not fame just in a geographic niche, you have to be famous across the country. And I’m not sure that Jellyroll the band can prove that kind of fame.”
It was another singer vs. band trademark case in 2020 when Anita “Lady A” White got into a dispute with the band Lady A, who had just changed its name that year.
One particular part of the band’s suit is worth noting here, as Lady A (the band) claimed the singer never challenged the trademark before 2020, even though the band had been using Lady A as a nickname for years. It’s this argument of timing that could be on the side of Jelly Roll, the singer.
“It’s this idea of laches,” Harris said. “It’s an idea that you could have enforced your rights a lot earlier and instead you waited so there’s an unreasonable delay before enforcing your rights. And that unreasonable delay resulted in an unfair prejudice to, in this case, the singer.”
Just weeks after the Jelly Roll dispute made headlines, the singer Pink filed legal action against Pharrell Williams, claiming his plans to register a trademark for the term “P. Inc” would cause “confusion and damage her business.” The singer registered her Pink trademark in 2001.
In the suit, Pink’s attorneys said she and Williams provide “goods and services that are identical and/or closely related,” and that Williams is likely to “market and promote [his] goods through the same channels of trade and to the same consumers as [Pink].”
Williams’ team said P. Inc would be used for his business of “promoting marketing services in the field of music.”
However, it’s not always singer vs. singer or band vs. band when it comes to trademark fights in the music realm.
In fact, Williams already faced legal action against his trademark a month before Pink came into the picture, and it wasn’t from another singer. It was from Victoria’s Secret.
The retailer also claimed consumers could be confused since the company has been using the term “PINK” in its clothing line for decades. In its suit, Victoria’s Secret said Williams’ trademark is “highly similar to, and is the phonetic equivalent of” its “PINK marks.”
A clothing company can sue a singer. How about a cereal company? That happened, too.
In 2022, the marketers at Post created a line of portable cups of some of its most sought-after cereals like Honey Bunches of Oats and Fruity Pebbles, named them “OK Go!” and thought the company had a hit on its hands.
What Post didn’t realize was members of the band OK Go, who had several hits, were not pleased.
The band’s attorney sent Post a cease-and-desist letter, saying the cereal’s new line would “suggest to consumers that OK Go (the band) is endorsing Post’s products.” The move serves as an example of the band trying to show a likelihood of confusion.
An attorney for Post disagreed with the band’s rhetoric, saying rock music and breakfast cereal were “clearly unrelated” and “ok go” was a common term used by many other companies.
The dispute led to Post filing suit against the band. Post said it had offered to pay OK Go to resolve the issue without litigation, despite the cereal company not finding any merit in the ban, leading the company to have no other choice but to file the lawsuit.
OK Go vowed to fight the “big corporation,” but a few months later, both parties reached a confidential settlement. The band released a statement saying Post agreed to withdraw its application to register “OK Go!” as a trademark.
When it comes to trademark lawsuits, Harris said it is much more difficult for the suing party to claim that likelihood of confusion when the alleged violator is in a completely different industry.
“The two factors that play the biggest role are how similar the marks are and then how similar the products are,” Harris said. “So if you have someone using OK Go for a band and OK Go for cereal, are consumers really likely to believe that they’re coming from the same source? Highly unlikely. But if you have Jellyroll the band and Jelly Roll the singer you know now they’re both in entertainment, they’re both singing, it’s both about music, they’re using the exact same name and it seems to me to get much more likely that consumers are likely to be confused here, as opposed to using the exact same name on wildly different products or services.”
So will the Jelly Roll and Pink lawsuits follow the same tune as the Lady A and OK Go battles — with settlements? Harris said most cases usually do settle, which could be music to the ears of all parties involved.
Universal, TikTok strike new deal to end feud that kept Taylor Swift off the platform
Artists from Universal Music Group (UMG), including Taylor Swift, Drake, Adele, Bad Bunny and Billie Eilish, are set to return to TikTok following a new licensing agreement that resolves a three-month dispute. Announced Wednesday, May 1, the deal addresses past concerns over artist compensation, the use of AI and user safety on TikTok.
Universal Music Group and TikTok have reached a new licensing agreement, ending their months-long dispute and bringing the label’s catalog back to the short-form video platform.
This agreement specifically tackles issues with generative AI by ensuring future AI developments within the music industry will protect artists’ and songwriters’ creative rights and financial earnings.
TikTok CEO Shou Chew emphasized the platform’s commitment to drive value and promote UMG’s talent, including removing unauthorized AI-generated content and enhancing attribution for artists and songwriters. The deal also aims to create a safer online community by preventing fake merchandise and ticket sales scams.
Additionally, the agreement introduces new monetization avenues and global promotional campaigns for UMG artists, aiming to leverage TikTok’s vast user base for greater artist visibility and engagement.
Our core mission is simple: to help our artists & songwriters attain their greatest creative and commercial potential, which is why we must call time out on TikTok.
However, the future of TikTok in the U.S. remains uncertain. Recent legislation requires TikTok’s parent company, ByteDance, to sell to a U.S. owner within a year or shut down, posing potential challenges to such agreements.
TikTok maintains it has not and will never share U.S. user data with the Chinese government.
Tennessee’s new ELVIS Act protects musicians from AI impersonations
Tennessee Gov. Bill Lee, R, signed a groundbreaking law Thursday, March 21, designed to shield artists from unauthorized artificial intelligence impersonations. The Ensuring Likeness Voice and Image Security, or the ELVIS Act, addresses growing concern among artists about deepfake technology and AI impersonations that mimic their own voices.
This law recognizes an artist’s voice as a protected personal right and sets stricter guidelines on the use of someone’s name, image and appearance.
Tennessee Governor’s Office
“The really great thing about this is Tennessee is the first in the nation to enact this legislation,” Lee said at the signing. “This will be a blueprint and we expect that it will be enacted multiple times over multiple states and, at some point, artists all across America will be protected because of what started here in the music capital of the world. We will ensure that no one can steal the voices of Tennessee artists and I believe that what we’re doing here today will ensure that no one will steal the voices of American artists once this is enacted across the country.”
The law has support from the music community. Lee, alongside stars Luke Bryan and Chris Janson, signed the act at a local music venue called “honky-tonk,” calling it “the coolest bill signing ever.”
AP Images
“What an amazing, stance or, precedent to set for the state of Tennessee to get in front of this to be the leaders of this and to show artists like myself, current artists, artists that are moving here, following their dreams, to know that our state protects us and what we’re about and what we work so hard for,” Bryan said.
“From Beale Street to Broadway, to Bristol and beyond, Tennessee is known for our rich artistic heritage that tells the story of our great state,” Lee added. “As the technology landscape evolves with artificial intelligence, I thank the General Assembly for its partnership in creating legal protection for our best-in-class artists and songwriters.”
The bill also received backing from the music industry and the Human Artistry Campaign, a worldwide effort by entertainment groups advocating for a thoughtful use of AI.
“This incredible result once again shows that when the music community stands together, there’s nothing we can’t do,” Mitch Glazier, Recording Industry of America (RIAA) chairman and CEO said. “We applaud Tennessee’s swift and thoughtful bipartisan leadership against unconsented AI deepfakes and voice clones and look forward to additional states and the U.S. Congress moving quickly to protect the unique humanity and individuality of all Americans.”
The ELVIS Act updates the Personal Rights Protection Act of 1984, which was first enacted to protect Elvis Presley’s publicity rights posthumously.
Music label threatens to pull songs off TikTok over compensation debate
Some popular TikTok songs may be pulled from the app soon, including Taylor Swift, Harry Styles, Billie Eilish and more. Universal Music Group — one of the largest music labels representing major pop stars — is threatening to pull its artists’ music because of a clash with TikTok about compensation.
“Ultimately TikTok is trying to build a music-based business, without paying fair value for the music,” UMG said in a public letter to its artists. “TikTok attempted to bully us into accepting a deal worth less than the previous deal, far less than fair market value and not reflective of their exponential growth. ”
“It is sad and disappointing that Universal Music Group has put their own greed above the interests of their artists and songwriters,” TikTok said in a statement on X. “The fact is, they have chosen to walk away from the powerful support of a platform with well over a billion users that serves as a free promotional and discovery vehicle for their talent.”
While the two giants in their respective industries are at odds, they are also mutually beneficial.
The majority of videos posted on TikTok have music to them. Eight out of the top 10 most popular artists heard on TikTok are represented by UMG.
From viral dance videos to the beat of a Taylor Swift song, to lip syncs of Drake’s raps and more, the artists get millions of listens. This means the musicians’ songs are getting boosts in the Billboard Top 10 and a bump in revenue, which may not have happened otherwise.
For example, Fleetwood Mac’s “Dreams” went viral from a video garnering over 90 million views. The song, which is from the 70s, likely would never have been in the Top 100 in 2020. However, TikTok’s boost gave it new life, generating more listens and more money.
If video killed the radio star, what’s killing music journalism?
If video killed the radio star, what’s killing music journalism? Journalism has been going through it since the internet – plain and simple, digital advertisements don’t pay as much as print – but when Condé Nast announced it was folding Pitchfork into men’s magazine GQ, music press in particular was put on notice.
Pitchfork grew into a leading music news site over its near-30 years as a publication, covering artists, bands, scenes and ideas, “that no other publication does,” according to award-winning music journalist Annie Zaleski.
“This actually marks my 25th year in music journalism this year. And it’s obviously, it’s like night and day,” said Zaleski, who has written for major publications and authored biographies on Lady Gaga and Pink, to name a couple.
Streaming changed the power of music criticism
Back in the day, the power of a positive writeup in Rolling Stone or Pitchfork could drive music lovers to their nearest record store. Now everything lives in the palm of your hand and algorithms, not critics, can feed you music you may like.
As Amos Barshad wrote about Pitchfork in a 2018 Slate article, “The internet democratized access to music. We didn’t really need gatekeepers anymore; for a whole generation, reading about what something sounded like, when you could listen to it for free yourself, felt increasingly like an insane thing to do.”
But as jobs for music journalists dwindle, music libraries are only growing, thanks to virtually anyone being able to upload music these days.
“It has just gotten so difficult to sort of follow what’s going on and making sure something doesn’t fall through the cracks,” Zaleski said. “Who’s actually curating the stuff to tell you what’s coming out in a given week? You know, there are some really, really great playlists on streaming services, but magazines and newspapers used to do that, where are those?”
Evidently, they’re folding. While Pitchfork’s closure is not unique – Zaleski referred to it as a microcosm of what’s happening in media – there is more to music journalism’s struggle than general press decline.
Social media’s musician-to-fan pipeline
Music journalists now face competition from their own subjects, thanks to social media. No longer do musicians need that coveted cover and feature article to reach new and existing fans.
“I think that musicians very early on realized that that connection, that fan-to-fan connection, is their best way to kind of make sure that they can still stay connected to audiences,” Zaleski said.
From TikTok and Instagram to online communities, musicians are harnessing the power of social media to help fans stay connected with their work. But direct access via social media is not a substitute for music journalism, Zaleski said.
“You can read a piece and it’ll kind of reflect what’s going on in history at the time, what’s going on in culture,” she said. “You might get new insights into an artist that you didn’t recognize before, especially if people are really good interviewers, they tease things out from artists that you might not know.”
As for music criticism, while streaming allows anyone to listen to anything with the tap of a finger, Zaleski says exceptional criticism can help you hear records differently.
“It can be influential and just give you new insights into something that you thought you knew, and that’s important,” she said. “It might not necessarily sometimes feel groundbreaking, but maybe you’re gonna find a record that saves your life.”
A select few music enthusiasts have built lucrative online platforms sharing personal critiques, while newsletters, community hubs and startups are filling voids left by legacy media.
“People are still music fans and people still hunger for new music and hunger for new bands,” Zaleski said. “And I think everyone is trying to figure out the best place to do that.”