Diddy claims he was “joking” about payments to Sting


Diddy claims he was “joking” about unsettled music rights payments to Sting

(Credit: Alamy)


The rapper Diddy has followed recent claims that he was being forced to pay Sting $5000 a day for unsettled music rights over his sampling of ‘Every Breath You Take’ by saying that he was simply “joking”.

Following the resurfacing of an interview during which Sting commented on the favourable royalties he receives from ‘I’ll Be Missing You’ which samples The Police’s 1983, Diddy claimed he has to pay $5000 per day for the rest of his life. 

He has since Tweeted, stating: “I want y’all to understand I was joking! It’s called being facetious! Me and @OfficialSting have been friends for a long time! He never charged me $3K or $5K a day for ‘Missing You.’ He probably makes more than $5K a day from one of the biggest songs in history.”

The track was the biggest chart-topping hit in 1983. It has since recieved over 15 million radio plays and it charted at 25 on Billboard’s compiled All-Time Top 100 Songs list. Drummer Stewart Copeland commented: “We made gazillions off of it, and it’s the biggest hit we ever had.”

The sampling charge for the single has never been publicly cited.

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How Did J Dilla Die? Cause of Death, how James Dewitt Yancey Passed


James Yancey, who was also known as J Dilla and Jay Dee, passed away at age 32 on February 10, 2006. While to some, how J Dilla died will be part of how he is remembered, for others, it will be the indelible mark that the legendary hip-hop producer and rapper left on the music world. 

Dilla was born in Detroit, MI, on February 7, 1974, to parents Maureen “Ma Dukes” Yancey and Beverly Dewitt Yancey, who were also musically inclined. His mother was an opera singer, and his father a bassist.

In an oral history interview from 2016 with the National Museum of African American History and Culture, Mrs. Yancey said that her son had always been serious about music, had played several different instruments, and had taken piano lessons before he was five years old, “even at a very early age he knew that this was his niche in life, he knew that’s what he was here for.” 

The prolific producer worked with hip-hop and R&B artists such as The Roots, A Tribe Called Quest, Common, Erykah Badu, and Eminem. “Eminem was at my gate every day at 5:45 waiting for six o’clock to come because he knew what time my daycare kids would leave and what time he could come in,” Mrs. Yancey told the museum. 

How did J Dilla die?

Dilla, who died at home, had been hospitalized at the end of summer 2005 at Cedars-Sinai in Los Angeles. During his time there, he created two songs for his final solo album Donuts, which dropped three days before his death, according to the Detroit Free Press in an article covering how J Dilla died. The outlet also stated that he was barely able to talk, unable to walk, and had problems with his hands. Billboard reported that J Dilla later died due to complications from lupus. “The day before he passed away, he was at the table in his wheelchair on that machine working…he would have it no other way,” his mom told the museum, stating that she took care of him the last two years of his life day and night. 

J Dilla

Hip hop artist J Dilla of Slum Village. Photo by Gregory Bojorquez/Getty Images

A year after his death, Dilla, who produced “Wordplay” for A Tribe Called Quest, received the PLUG Award for Artist of the Year posthumously. In 2015 the late rapper Phife Dawg spoke to Vulture about the collaboration. “It’s a dope record because J Dilla is known for his drums, kicks, snares. The bass line is crazy.”

During a video montage at the PLUG Awards, the musician and producer was honored by his mother and artists such as Pharrell and Common, for whom Dilla produced the Grammy-nominated song “The Light.” MTV has called “The Light” “one of the few classic modern-day rap love songs.”

Since his passing, artists like Questlove have spoken about how his death impacted them. While at the ASCAP (The American Society of Composers, Authors, and Publishers), “I Create Music” Expo in Hollywood in May 2019, according to Billboard, the frontman for The Roots stated, “When he passed away, that really hit me super hard,” the Oscar winner and bandleader for the “The Tonight Show continued. “I stopped making music. Unless it was a Roots album, I pretty much had stopped working and collaborating with other people.”

What was J Dilla’s cause of death?

One of the first indications that J Dilla had health issues was in January 2002, after he returned from Europe. The producer went to his parent’s house complaining that he had a cold or the flu, according to the Detroit Free Press. His mother took him to the emergency room, where it was discovered that his blood platelet count was significantly lower than it should be. 

He was ultimately diagnosed with thrombotic thrombocytopenic purpura or TTP, a rare, incurable, and life-threatening blood disorder. According to the National Lung and Blood Institute, TTP causes blood clots to form throughout the body, limiting blood flow to your organs. The clotting from TTP also “uses up your platelets,” leading to low platelet counts. 

Dilla would be in and out of the hospital for several years because of his condition, and he also had kidney failure and would have to have dialysis. Then in 2005, weeks before his 31st birthday, he was diagnosed with what appeared to be lupus, according to the Detroit Free Press. This chronic autoimmune disease can affect the skin, joints, heart, lungs, kidneys, circulating blood cells, and brain, per the National Institute of Arthritis and Musculoskeletal and Skin Diseases.

The producer passed away on February 10, 2006, and how J Dilla died, according to his mom, was from cardiac arrest—the New York Times reported that Mrs. Yancey stated that he had had lupus and had recently been hospitalized for pneumonia.

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‘The Voice’ contestant makes comeback after 6-year hiatus


CLARKSBURG, W.Va. (WBOY) — Savion Wright, also known by his stage name, “NOIVAS,” has made a comeback to the music industry by being a contestant on NBC’s The Voice, after a six-year hiatus.

NOIVAS is a 31-year-old from Hutto, Texas, and his journey on The Voice began when he did blind auditions to Sam Cooke’s “A Change Is Gonna Come.” The staff of The Voice originally wanted him to sing a different song since it was such a big song. However, this powerful song meant a lot to Wright, and he wanted to showcase it to honor his father, grandfather and late brother. This song was one of the first songs he learned, and when learning the lyrics, he really connected with them. After hearing the reason why NOIVAS wanted to perform this song, the staff really wanted him to do so as well.

Performing this song got Wright a four-chair turn, meaning all the coaches turned, with Chance the Rapper blocking Blake Shelton from the chance of having NOIVAS on his team. Since NOIVAS got to then choose between judges Kelly Clarkson, Chance the Rapper and Niall Horan, he chose to be on Team Chance; however, he said he would have chosen Team Blake if he was available.

The week after blind auditions, NOIVAS was paired up with another contestant on Team Chance for the Battle Rounds. They performed John Lennon’s “Jealous Guy,” which resulted in Chance the Rapper choosing Ray Uriel to move on to the Knockout round. However, Blake Shelton used his only steal to “bring NOIVAS home,” and to take him into next week’s Knockout round for Team Blake.

During his time on The Voice, as of April 6, NOIVAS mentioned some of the advice and tips that he got while he was on Team Chance. NOIVAS learned that stage presence and having fun is important, because the energy you are putting out, is what everyone will feel, and you want to make them feel bigger than themselves. Savion Wright is grateful to have had the opportunity to work with Chance the Rapper, but is looking forward to also getting to work with Blake Shelton in his last season on The Voice.

Coming into auditions, Wright did not know that it was going to be Shelton’s last season as a coach. He said he is excited to be part of The Voice’s legacy and wants to envelop himself in any advice Shelton can give him, considering he has “a wealth of knowledge.” Wright told 12 News that Shelton typically towers over his team contestants, but a cool thing is that Carson Daly measured them out and they are the same height. NOIVAS loves that Shelton is a jokester and is very genuine, he said, “it’s this piece of him that he is really good at showing to the world, I just wish I could have a little pinky worth of what that man has, because he’s just amazing. I’ve always been a fan of him.”

He hopes that if he makes it to the finale, that Blake Shelton will perform Michael Buble’s “Home,” with him because it is a dream of his.

NOIVAS’ journey has shown overcoming the loss of loved ones, depression, and just celebrating life. He put his music career on pause to find out who he was besides an artist, or the image he was putting on for everyone. He wants to be an inspiration to others. To share love, compassion and hope through his music.

NOIVAS’ love for music began at the age of six years old when he realized he wanted to make people feel something. His middle and high school choir director, Mr. Jones, helped cultivate Wright’s love of music. He was a two-time contestant on FOX’s American Idol, in which he placed top 48 in 2014 and top 24 in 2015. After being eliminated in 2015, Wright toured the United States. He performed 180 shows and even stopped in West Virginia. In June 2017, he decided to take a break from it all. Wright told a 12 News reporter, “Me coming back to music is kind of like a homecoming, in that sort, because of how much I put into it already. And then, it’s just an added bonus that I am able to, you know, inspire my daughters.”

During his hiatus, NOIVAS was not as motivated to write and record music. Finding out his wife was pregnant with his first daughter in October of 2020 is what brought back his lost motivation. He began singing “You Are My Sunshine,” by The Pine Ridge Boys, while both of his daughters were still in the womb—they are his reason. He wants them to grow up and watch these episodes back and know that they do not have to give up on a dream that they have, and that tenacity and resiliency are things that they will encounter in life. He also wants to show them that they can do a lot more than they think they can.

When making the decision to try out for The Voice, Wright’s wife offered some advice and wisdom. She said, “One, what’s the worst that could happen?” and then she said, “why not?” Wright continued to playback what his wife said by saying, “the worst that could happen is, you just come back home and you take care of your beautiful daughters.” At the time his wife offered this advice, they already had one of their daughters, and she was pregnant with their second daughter.

You can support NOIVAS by downloading “The Voice” app on the Google Play store or Apple store, creating your team, and voting for him when live episodes air on Mondays at 8 p.m. and Tuesdays at 9 p.m., both Eastern Time. He would like to thank everyone for supporting him, as well as The Voice and coaches for this opportunity. On that note, Wright would like to finish with a quote he loves, “dream big, inspire, change the world. And always look for better ways to spread some positivity.”

If wanting to follow NOIVAS’ journey through social media, you can follow him on Facebook and Instagram.

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DEE SNIDER Says TWISTED SISTER Will Reunite In 2024 For Appearances ‘At Different Political Rallies That Need Our Support’


A little over two months after TWISTED SISTER‘s one-off onstage reunion at the Metal Hall Of Fame in Agoura Hills, California, Dee Snider has told Yahoo! Entertainment that the band will come back together next year for special performances “at different political rallies that need our support.” The singer added: “We were all in favor of gonna go down to support Beto [O’Rourke], but we couldn’t schedule it. You know, the band has a concern that the [classic TWISTED SISTER] song [‘We’re Not Gonna Take It’] is being co-opted by the extreme right… and we want to make sure that people still know it’s a song for everybody and it does not represent that selfish micro group. It is really for the mass people, the moderate people, the people that just want to live their lives, be themselves, and not have people tell ’em they can’t be themselves. So, I think you’ll see us at political rallies and stuff like that. We’ll be out there next year.”

On hand to be inducted into the Metal Hall Of Fame were Snider, guitarist Jay Jay French, bassist Mark “The Animal” Mendoza and Mike Portnoy, who has played drums for TWISTED SISTER since the passing of former member A.J. Pero. Guitarist Eddie Ojeda was absent from the event after contracting COVID-19; filling in for him was Keith Robert War.

The highlight of the ceremony — which also saw FOREIGNER singer Lou Gramm, NWOBHM heroes RAVEN, and guitarists Chris Impellitteri and Doug Aldrich honored — was TWISTED SISTER‘s highly charged three-song set consisting of the staples “You Can’t Stop Rock ‘N’ Roll” and “Under The Blade”, as well as the anthem “We’re Not Gonna To Take It”.

In late January, Snider told Eonmusic that there were no additional TWISTED SISTER reunion performances in the works. “A hard ‘no plans’,” he said at the time. “No plans at all to do that.”

Going on to reference both OZZY OSBOURNE and MÖTLEY CRÜE‘s retirement and returns, he added: “You know, I’ve said when people retire, they should leave the stage, and all those bands, I’m tired of buying ‘No More Tours’ shirts and seeing people signing contracts in blood and then they show up three years later. I don’t believe in that bullshit, so I don’t think it’s going to happen.”

Last month, French told Canada’s The Metal Voice that the Metal Hall Of Fame performance shouldn’t give fans the impression that there will be more TWISTED SISTER performances to follow.

“There’s no reunion to speak of,” he said. “I’m not gonna be so cynical and say that it couldn’t lead to conversations, but we never had a single conversation about a reunion prior to this. Not one.

“People always go, ‘When are you guys getting back together?’ I say, ‘Well, we talk all the time, but we never talk about playing. But we talk about business,'” Jay Jay added. “Why do we talk about business? Because ‘We’re Not Gonna Take It’ and ‘I Wanna Rock’ are the most licensed songs in the history of the music business; they’re in more TV commercials, movie soundtracks… So we do licensing deals all day long. It’s really what we do. I’m in the business of music licensing, which is a business I didn’t know existed.”

In 2016, TWISTED SISTER embarked on one final trek, titled “Forty And Fuck It”, in celebration of its 40th anniversary. These shows featured the band’s “core lineup” of Snider, French, Ojeda and Mendoza, along with Portnoy. The band’s last-ever concert took place in November of that year — 20 months after the passing of Pero.

TWISTED SISTER‘s original run ended in the late ’80s. After more than a decade, the band publicly reunited in November 2001 to top the bill of New York Steel, a hard-rock benefit concert to raise money for the New York Police And Fire Widows’ And Children’s Benefit Fund.

The surviving members of the classic lineup of TWISTED SISTER previously reunited virtually in March 2021 for a special episode of Mendoza‘s Internet TV show “22 Now”. The hour-and-a-half-long program was a tribute to Pero, who died exactly six years earlier at the age of 55 while on tour with the band ADRENALINE MOB.

Prior to the March 2021 virtual reunion, the four surviving members of TWISTED SISTER reunited for two days and nights in November 2019 to celebrate the 35th anniversary of the band’s classic album “Stay Hungry”.

In a 2021 interview with the “Metal From The Inside” podcast, Snider was asked if he is still steadfast about not wanting TWISTED SISTER to reunite. He responded: “[I am] one hundred percent committed to not reuniting. Now, let me just be clear: we’re friends. I did a [solo] show a couple of weeks ago [on June 11 at Stereo Garden in Patchogue, New York] and [TWISTED SISTER bassist Mark] Mendoza showed up, and we did [TWISTED SISTER‘s] ‘Under The Blade’, and it was awesome. I talk to the guys all the time. I can show you my text messages. We have a little text group, and we were sending messages back and forth.

“To me, that was the reason to reunite, was to fix the relationships [between the members of the band], and we did fix’ em, and we’re friends,” he explained. “I feel we did what we could do without just doing the same thing over. And I wanted to do some new, challenging things that I couldn’t do within TWISTED. And the solo records I’ve done I could not have done with TWISTED SISTER. I could not have done ‘Dee Does Broadway’ with TWISTED SISTER‘Twisted Does Broadway’. And I could not have done ‘For The Love Of Metal’ with TWISTED SISTER; people would never have accepted it. But as a solo artist, I’m allowed to change and evolve. And some things [fans have] liked; some things they’ve not liked. But at the same time, I’m allowed; no one’s ever questioned [it]. And, again, if TWISTED SISTER did it, it would be, like, ‘Hey, it doesn’t sound like TWISTED SISTER anymore’; it would have been that kind of thing.”

Circling back to the prospect of TWISTED SISTER reuniting, Dee said: “I could see us doing a charity — a couple of songs for charity, for the right reasons. We got [back] together originally for charity, which was a good reason to get together. I could see [talk show host Jimmy] Fallon — he’s a big fan — if he said, ‘Hey, guys, can you guys come on ‘[The Tonight Show Starring Jimmy Fallon’] and do ‘White Christmas’ for us?’ Fuck yeah. But to do a tour, to do 90 minutes, two hours on a stage, I don’t see that happening. And credit to everybody in the band, and I know some people — without naming names — some guys, they would have kept going; others did not wanna keep going. But I’m sure we get offers. Jay Jay French is the manager of TWISTED, ’cause it’s still an entity — there’s still royalties and licenses and things like that, and merchandise — he’s not presented one offer, and I’m sure we’ve gotten ’em. ‘Cause we’re not even considering it. It doesn’t matter what they’re offering; we’re not doing it.”

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Diddy Admits The Math Wasn’t Mathing With Sting Royalties


Well it looks like Diddy and Sting got together and trolled us all. Damn. This was a late April Fool’s Day gift if I ever saw one. It really tested the way people will believe just about anything. At any rate, we were told by Sting, through an interview with The Breakfast Club, that Diddy pays HIM $3,000 a DAY for the sample for “Missing You.” That was the song that was in homage to The Notorious B.I.G.

Diddy said they were being “funny” when they said those likes.

He posted on social media, “I want y’all to understand I was joking! It’s called being Facetious! Me and @OfficialSting have been friends for a long time! He never charged me $3K or $5K a day for Missing You. He probably makes more than $5K a day from one of the biggest songs in history.”


I am not sure how people were supposed to determine this was a “prank” the way they were letting it roll downhill like that. Sting did not bat an eye or say a “sike” after being asked that question. And Diddy took it farther, when he could have dispelled it easily. We were just lied to. LOL! But, he did say they were good friends that that is cool to hear.

I did some digging and it looks like Sting does make about $2,000 a day from the song, just not from Diddy himself He basically owns the song. Look what I saw online:

Because of the vagaries of music authorship rules, every penny of royalties that is generated by both “Every Breath You Take” and “I’ll Be Missing You” goes into the bank account of one Gordon Matthew Thomas Sumner, a.k.a. Sting. Not Puff Daddy—or P. Diddy either. Not Andy Summers, who is the only member of the Police whose musicianship can be heard on “I’ll Be Missing You” directly. Not Stewart Copeland, who also had a hand in writing the song. All the money goes to Sting—and that money amounts to roughly two thousand dollars a day—seventeen years after the Puff Daddy song was released and thirty-one years after The Police song was released. According to Celebrity Net Worth, more than a quarter of all the money Sting has ever earnedcomes from “Every Breath You Take”/“I’ll Be Missing You.” The number’s a little more eye-popping when presented in annual form: It comes to $730,000 a year, each and every year for the foreseeable future.

DAMN! That’s still a really big come up. At any rate, there was beef between the members of The Police, the group Sting fronted. Sting did not play the instruments that were sampled, but he is listed as the only songwriter. That was a bandmate that did not get cut in on the windfall of sampling the classic song. WOW…Rock Beef! Sting juxed The Police!

Well for now, enjoy the vibes!



Which do you prefer?

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Diddy Is Still Paying Sting Royalties Over Uncleared Sample


In what should serve as a cautionary tale that sometimes it actually isn’t better to ask for forgiveness than permission, Diddy has confirmed that he pays Sting $5,000 a day in royalties for the unauthorized use of The Police’s “Every Breath You Take” in his 1997 hit “I’ll Be Missing You.”

The rapper clarified the amount after clips from a 2018 interview with Sting and Shaggy on The Breakfast Club recently resurfaced. The Police frontman revealed to host Charlamange Tha God that Diddy pays him $2,000 a day for sampling the song. “Yeah, for the rest of his life, It ain’t fake news,” Sting confirmed, adding that Diddy did eventually ask him for permission but only after his track was already out. Sting originally took the rap mogul to court in the early 2000s, successfully winning the lawsuit and being awarded 100% of the song’s royalties.

Presumably the additional $3,000 accounts for either inflation or the rest of the band’s cut, but $5,000 a day is sizable chunk of change for Diddy to shell out. Originally written as tribute to Notorious B.I.G. who was murdered just a few months prior, Diddy’s “I’ll Be Missing You” debuted at No. 1 on the Billboard Hot 100 chart when it was first released. Amid all the controversy surrounding the sample, Diddy and Faith Evans still managed to come together to perform the track live at 1997 MTV Video Music Awards.

That being said, it does appear that there isn’t any bad blood between the two artists anymore. “We’re very good friends now. … It was a beautiful version of that song,” Sting said, a sentiment Diddy seemed to echo in his tweet: “Love to my brother @OfficialSting 😎✊🏿🫶🏿!” The Police’s guitarist Andy Summers, however, was less kind, calling Diddy’s track “a major rip-off” in an AV Club interview, according to Ultimate Classic Rock.

“He actually sampled my guitar, and that’s what he based his whole track on,” he noted. “Stewart’s not on it. Sting’s not on it. I’d be walking around Tower Records, and the fucking thing would be playing over and over. It was very bizarre while it lasted.”

Photo via Getty/Kevin Mazur

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LMKN inks MoU related to music royalty with associations


Jakarta (ANTARA) – The National Collective Management Institution (LMKN) signed a memorandum of understanding (MoU) with multiple parties, including the Indonesian Music Promoter Association (APMI) and the event organizer community, to help address various likely royalty usage-related issues.

This agreement becomes important when event organizers (EOs) come under pressure from parties that seek to play songs or music that have not received a performing rights royalty license, LMKN’s official, Marcell Siahaan, explained.

In this scenario, the LMKN will back them up to protect them, he told ANTARA on Thursday.

Marcell affirmed that throughout this time, there are still EOs that encounter problems or are perplexed when they receive clients’ requests that tend to ignore the importance of paying performing rights royalty, especially in the commercial field.

He also acknowledged that several EOs were still nonchalant about royalty licenses for commercial use, though most of them are aware and fulfill their obligation.

“I expect EOs to protect their pride. Thus, if EOs have to deal with weird clients making all sorts of requests, then tell them to go to LMKN. We will handle them,” Siahaan remarked.

In addition to EOs, he expects all parties that deal with song and/or music use to understand the essence of copyright used in the commercial field.

“Copyrights will be nothing if no one produces and sings, which is why related rights exist,” he explained.

“Because in there, show producers and actors exist. Thus, three different sources related to their rights exist,” he stated.

According to Siahaan, users need to understand that when it comes to seeking profits, the basic ethic involves the willingness to appreciate the song owners.

“The philosophy is that while using and playing other people’s goods, specifically to earn money or for commercial purposes, then you need to pay,” he stressed.

Related news: Law Ministry to regulate book royalties for writers’ welfare

Related news: Intellectual property key to post-pandemic recovery: minister

Related news: Tourism Minister supports dangdut music concert to revive economy


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How Can I Cut Costs When Using Music on My Premises?


Music - Premise

There are several ways you can cut costs when using music on your premises, and they are perfectly legal. So rather than pay every time you want to play a song or try out a new music genre, you can pay upfront; that is it; no more royalties to the artist! Below, we discuss why aspects like royalty-free music are now even more popular than they have ever been. 

Use royalty-free music

This is the obvious way to cut costs! Instead of using commercial music, consider using royalty-free music. These tracks can be used without licensing fees, and many websites offer a wide range of royalty-free music.

Negotiate licensing fees

If you still want to use commercial music, you can negotiate licensing fees with the copyright owner. This can often result in a lower price or a payment plan that spreads the costs over time. Another alternative is using streaming services, which can be negotiated as part of your license fee. Instead of purchasing music outright, consider using a streaming service like Spotify or Apple Music. These services offer a wide range of music at a relatively low cost, and you can often customise your playlists to suit your needs.

Use an energy-efficient sound system

An energy-efficient sound system can help you save money on electricity bills. Look for sound systems designed to consume less energy without compromising sound quality.

Use music in a targeted way

Additionally, consider using music in a targeted way to enhance the customer experience. For example, you could play slower music during quieter times to create a more relaxed atmosphere or more upbeat music during busy periods to help customers feel energised. By using music in a targeted way, you can ensure that you are getting the most value out of your investment.

How much does it usually cost to use music on commercial premises?

The cost of using music in commercial premises varies depending on several factors, such as the type of business, the size of the premises, the kind of music being played, and the company’s location.

It’s important to note that additional costs may be involved in using music on commercial premises, such as purchasing sound equipment or paying fees to streaming services. 

Businesses should also be aware of local or regional regulations affecting their ability to play music, such as noise ordinances or zoning restrictions.

What sort of music can I play on commercial premises?

The type of music you can play on commercial premises depends on various factors, such as the type of business you have, the location of your premises, and the licensing requirements in your area.

In most cases, if you want to play music on your commercial premises, you must obtain the necessary licenses and permissions from the relevant authorities. This may include licenses from music licensing organisations such as ASCAP, BMI, and SESAC in the United States or PRS for Music and PPL in the United Kingdom. These organisations manage the performance rights for most commercial music and collect royalties on behalf of songwriters, composers, and publishers.

What can you do after obtaining a necessary licence?

Once you have obtained the necessary licenses, you can typically play eclectic music on your commercial premises. However, it’s essential to consider your customers’ preferences and the atmosphere you want to create. For example, you may want to play mellow acoustic music if you run a coffee shop. In contrast, a bar or nightclub may play more upbeat and energetic music.

It’s also essential to ensure the music volume is not too loud, as this could disturb nearby residents or violate local noise regulations. In some areas, there may be restrictions on the type of music that can be played or the hours during which music can be played. Be sure to check with your local authorities to ensure that you are complying with all relevant laws and regulations.

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Author James Kahn’s Publishing Platform on Blockchain Innovator Creatokia Goes Live April 7 – Music Industry Today


Author James Kahn’s Publishing Platform on Blockchain Innovator Creatokia Goes Live April 7 – Music Industry Today – EIN Presswire

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Live on Tidal Launches – ecoustics.com


Music Streaming service TIDAL has launched Live, a new in-app feature for HiFi and HiFi Plus TIDAL subscribers to share live music remotely. 

Live allows listeners to come together as groups for a special event, an album release, road trip, or a get-ready-with-me moment.

From TIDAL: “Through music, we are giving fans a way to connect with each other or with other creators, brands, and personalities through simple, one-click sharing”

Live is a new way for fans to share the music they love in-the-moment. This new option makes it easy and convenient for fans to also find and follow music tastemakers. 

How To Get Started

To start a Live session, TIDAL subscribers can choose the session name to set the tone for what they’re playing and share a link for others to join. Shareable links to Live sessions let anyone join – from text messages and social media to emails.

Going Live on Tidal Experience Part 2
Going Live on Tidal Experience

  • Step One: Be a TIDAL Hi-Fi or Hi-Fi Plus Subscriber
  • Step Two: Pick an Opening Track
  • Step Three: Tap the Live Icon
  • Step Four: Name your session
  • Step Five: Share your link so others can join in

From Agustina Sacerdote, Global Head of Product at TIDAL: “Through music, we are giving fans a way to connect with each other or with other creators, brands, and personalities through simple, one-click sharing…Using Live offers music fans a simple route to finding new music from other fans in-app or wherever a link is shared. We’re excited to see how Live is used to power moments through sharing music and bringing people together”.

Live is available in the TIDAL app on iOS and Android. TIDAL offers subscribers over 100 million tracks to listen to. 

Tip: Subscribers can only start and listen to sessions taking place in the country where their TIDAL account is registered.

TIDAL Curators

The key to providing music selections and organization of each music genre is TIDAL’s team of music curators. Some Live on TIDAL Curators include:


Brad Farberman: Jazz 

  • Vibe: soul-jazz, jazz-funk, avant-garde jazz
  • Bio: Brad has done work in immersive audio and legacy programming at TIDAL, however, he is also a music scribe whose work has appeared in the New York Times, the Village Voice, JazzTimes, and more. He has also served as an editor at Genius and an editorial assistant at Wax Poetics.
  • Brad’s perspective on the key to a great set is: “storytelling. I love when a set starts off big and ends on a mellow note, showcasing the peaks and valleys of an artist or genre.”

Evan Haga: Rock/Indie 

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  • Vibe: Ondie new and old, classic rock, all things punk and punk-adjacent, garage rock, rockabilly, blues-rock, electric blues, vintage jazz-rock.
  • Bio: Before joining TIDAL in 2019, Evan was the editor of JazzTimes. During that time, JazzTimes won three ASCAP Deems Taylor Awards, including one for an article he wrote on the confluence of jazz and metal. He has also written for NPR Music, Rolling Stone, the Baltimore Sun, Vinyl Me, Please, Living Blues, and Jazz at Lincoln Center.
  • Evan’s perspective on the key to a great set is: “striking a balance between the comfort of familiar sounds and the thrill of discovery.”

Gabriel Szatan: Dance & Electronic

  • Vibe: house, techno, jungle, and futuristic club music; noir electro, electro-pop, and disco/funk spanning multiple decades; New Age, ambient, and Zen sounds.
  • Bio: Gabriel is from the U.K. and currently lives in New York. He was Boiler Room’s Senior Curator and an editorial staffer for Red Bull Music Academy and Resident Advisor. He has also been a  contributor to Pitchfork, The Guardian, Billboard, and other outlets. He’s currently finishing his first book, After Daft, on 21st-century dance music and Daft Punk. 
  • Gabriel’s perspective on the key to a great set is: “to start strong, know how you’ll eventually wind down to a classy stop, and watch out for tempo leaps song-to-song — then just go with the flow.”

Check out more TIDAL Live Curators for all branches of music ranging from K-pop to Classical, and everything in between.

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Tip: Live has limited functionality with third-party devices. Also, subscribers can only start and listen to sessions taking place in the country where their TIDAL account is registered.

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