Net Worth, Career, Expensive Assets And More

Big Bang is surely one of the top boybands in the upbeat K-pop scene. And, with the mention of Big Bang, it is impossible to miss out on its lead singer and rapper, Kwon Ji-yong, better known as G-Dragon. With successful albums, various solo endeavours and lucrative brand endorsements, G-Dragon’s net worth has seen upward growth, making him rank among the highest-paid artists in the Korean music industry.

A popular South Korean rapper, G-Dragon is also a well-established performer, record producer and entrepreneur. He started his music career with YG Entertainment in 2006 and paved the way to lead one of the greatest music acts. A decade later, he was featured on the Forbes 30 Under 30 Asia list in 2016.

What originally started as a quintet, Big Bang is currently a four-member group. Although Daesung, Taeyang and T.O.P. have left YG Entertainment, they continue to be a part of the group. The band went into hiatus in 2018 as some members went for their military inscription and a member, Seungri, left after facing charges in a scandal. However, that hasn’t reduced the popularity of G-Dragon or the others. In fact, over the years G-Dragon’s net worth has seen a steady rise.

All about G-Dragon’s net worth, music journey, brand deals and more

Net worth of G-Dragon

G-Dragon net worth
Image credit: G-Dragon/ @xxxibgdrgn/Instagram

According to Celebrity Net Worth, G-Dragon has a net worth of USD 30 million. Music royalties, concerts and brand collaborations with the likes of Chanel and BMW add significantly to his net worth.

In 2018, G-Dragon, reportedly made KRW 800 million (around USD 610,218) a year owing to songwriting royalties, which was quite a hefty amount when compared to other band members.

Big Bang stint and solo career

G-Dragon net worth - career
Image credit: G-Dragon/ @xxxibgdrgn/ Instagram

The multi-talented singer, songwriter and musician has an illustrious K-pop career, both as part of the Big Bang boy band and as a solo artist.

G-Dragon debuted at a very young age with the group named Little Roo’Ra. Later, he joined YG Entertainment as a trainee, and in 2006, became the leader of Big Bang. Several albums of the It K-pop group became international hits which boosted G-Dragon’s career and net worth. As per a 2018 Korea Herald report, he has over 172 songs copyrighted under his name, which include “Lies,” “Last Farewell” and the super hit track “Haru Haru” from the band’s mini albums, Always (2007), Hot Issue (2007) and Stand Up (2008), respectively.

In 2009, the K-pop idol released his first solo album, Heartbreaker, which became a huge hit and sold over 300,000 copies. It also bagged the Album of the Year award at the 2009 MNET Asian Music Awards. The following year, G-Dragon teamed up with his bandmate T.O.P and released the album GD & T.O.P. Its three tracks “Oh Yeah”, “High High” and “Knock Out” soared to the top three positions on the Gaon album chart as per reports.

In 2012, G-Dragon saw another bout of incredible success when his first extended play (EP), One Of A Kind, sold over 265,000 copies and took the apex position on the Billboard World Album Chart. The EP ranked 161 on the Billboard 200 chart and earned him the Best Male Solo Artist award at the 14th MNET Asian Music Awards. One of a Kind was also named the Record of the Year at the 22nd Seoul Music Awards.

The next year, G-Dragon went on a world tour with stops across 13 cities in eight countries. Coup d’Etat, his second studio album, also rolled out the same year and reportedly sold over 200,000 copies, making it one of his most successful albums. G-Dragon teamed up with Taeyang the following year and the duo released “Good Boy” which topped Billboard’s World Digital Songs chart.

G-Dragon dropped another EP titled KWON JI YONG in 2017. As per KpopStarz, it became an overnight sensation and sold out nearly 1.5 million digital units and reportedly topped the iTunes chart in the US and Europe. It also soared on Billboard’s World Albums charts and Japan’s Oricon Digital charts as per reports. The same year, the rapper set out on his second world tour — ACT III, M.O.T.T.E — spanning Asia, North America, Europe and Australia.

The bandmates parted ways for their military service post the release of “Flower Road” in 2018 and after a four-year-hiatus, the Korean music act released a single titled “Still Life” in 2022. The four members appear in the music video, albeit not together.

G-Dragon has collaborated with other noted musicians beyond the Korean fraternity such as Missy Elliott, Diplo, Baauer and M.I.A.

While it is difficult to quote an approximate figure, it is safe to say that G-Dragon’s estimated net worth rose quite high during these years. According to an NME report, the singer is looking forward to furthering his solo career. On 1 January 2023, he dropped a video where he discussed his plans for the ensuing year and revealed working on a new album. When rolled out, it will be his first solo release since the 2017 EP.

Brand endorsements

G-Dragon net worth - brand endorsement
Image credit: G-Dragon/ @xxxibgdrgn/ Instagram

A much-loved K-pop star, G-Dragon has gone beyond just being a musician on stage. As a famous fashion icon, he is the face of several luxury houses which contributes to his massive net worth.

Often referred to as the ‘King of K-pop,’ G-Dragon became a brand ambassador of Chanel in 2016 and has been spotted at several Chanel events and shows. He also has his own fashion line called Peaceminusone (launched the same year) and even teamed up with Nike, as part of his fashion label, to create the Peaceminusone PARANOISE shoes which were reportedly sold for USD 200.

According to a Sportskeeda report, in 2011, the “Bae Bae” singer charged USD 1 million to USD 1.5 million per endorsement. The number rose to USD 1.9 million during his Kappa centenary anniversary deal. Besides these, he has appeared in campaigns for BMW, Nike, Colette, Vogue, Giuseppe Zanotti, Hyundai and Airbnb among others.

G-Dragon has also dipped his toes into the food industry with investments in cafes and hotels. He owns a cafe on Jeju Island called Monsant Cafe, however, his second venture named Untitled 2017, closed down permanently.

Expensive assets

expensive assets owned
Image credit: G-Dragon/ @xxxibgdrgn/ Instagram

Media reports show the K-pop star to be interested in real estate as he spends millions on lavish properties. According to reports, in 2013, G-Dragon bought an apartment worth USD 27 million in the luxury building Galleria Foret. In 2017, he bought another building worth USD 8.8 million, the details of which are unknown.

The 2021 Sportskeeda report also mentions that G-Dragon resided in a penthouse costing over USD 7.6 million. The luxurious abode offers amenities like swimming pools, breakfast bars and golfing areas. An episode of KBS’ Entertainment Live revealed this information which garnered a lot of attention.

As one of the highest-paid K-pop idols, G-Dragon drives around in style and his car collection has some premium names. According to SCMP, he was seen arriving at the Incheon airport in a white Rolls-Royce Ghost worth around USD 600,000, for Chanel’s Cruise 2022-23 collection show in May. As per reports, he might also own a black version as he was seen arriving in it to the 2016 MBC show, Infinite Challenge.

Another of his favourite luxury vehicles is the Lamborghini Aventador. Reportedly, he has been spotted several times with this USD 560,000 model and it even featured in his “Who You?” music video in 2013.

Other expensive vehicles in his garage include a Bentley Continental GT (worth USD 330,000) and Super 73 electric bikes whose top models can range between USD 3,500 and USD 5,200.

(Main and Featured Image Credit: G-Dragon/ @xxxibgdrgn/ Instagram)

This story first appeared in Prestige Online Malaysia

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Reactional Music Raises $2.05M Pre-Series A Funding Round

Reactional Music funding Photo Credit: Reactional Music

Reactional Music has closed a new funding round led by Amanotes and Butterfly Ventures.

This pre-Series A funding round was also supported by a number of angel investors including Kelly Summer, a former Chairman of Mediatonic (Fall Guys), CEO of Red Octane (Guitar Hero), and CEO of Take 2 Interactive (Grand Theft Auto, Red Dead Redemption). Reactional Music is enabling gamers to personalize their personas and gameplay with their favorite music—much the same way skins work in games like Fortnite.

Reactional offers a rules-based music engine and delivery platform that connects the music and games industries commercially and creatively, allowing any music to be brought into a game and the entire game’s visuals, music, and sound to react to that live music. This is technology that has not been possible in games until now.

Reactional’s platform opens up a new era of music personalization, in-game purchase, and a faster and more efficient method to create prototype music for games developers. It also gives developers increased music choice and ease of use for everyone involved. Reactional is working on several pilot projects. The Reactional Engine is also being used in a commercially available game for PS5 and PS VR2. The platform will be live in 2023.

Reactional has also completed multiple music rights agreements with commercial and production music rights holders, including Hipgnosis Song Management.

“We are thrilled to partner with Reactional Music,” says Bill Vo, CEO and Co-Founder of Amanotes. “This strategic investment allows us to take our music gaming applications to the next level. We are excited to see the impact it will have on our fans worldwide.”

“We are thoroughly excited to announce this investment in Reactional Music,” adds Tanya Horowitz, partner at Butterfly Ventures. “The company and its technology, the Reactional Music Engine has the ability to change the world of music and gaming in a way these industries have never before seen. Additionally, I am also super excited to flex my prior knowledge of the music industry and video game business and help the company in their thrilling up and coming journey.”

The Pre-Series A round follows a number of seed rounds at the Stockholm-headquartered business. Funds will be used to deliver the Reactional beta platform and SDK to developers, continue its music licensing operations and scaling of the Reactional team across development, technical support, and music supervision.


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Opinion | Andrew Lloyd Webber: A Goodbye to ‘Phantom’

“An apple a day, if well aimed, keeps the doctor away.”

I was speaking in P.G. Wodehouse quotes with my eldest son, Nick, who was in hospice, where he was being treated for cancer just days ago.

“Here’s one for you,” said Nick, laughing. He had surmised that, after bulletins from New York, his father, as Wodehouse might have put it, was less than gruntled. “Has anybody ever seen a dramatic critic in the daytime? Of course not. They come out after dark, up to no good.” We hugged and said our goodbyes.

The next day, my son died. Nothing’s worse for a parent than the death of a child. In my bones I feel it wrong to write about the closing of “Phantom” or where Broadway’s going right now.

But I’ll try. I owe everything to my love of Broadway and its glorious legacy of musicals. So everything I write comes from my childhood dream that I’d make it to the Great White Way.

All roads lead to my late friend and collaborator Hal Prince. My association with Hal goes back to 1970, when he sent me a telegram proposing that he direct and produce “Jesus Christ Superstar” on Broadway. It got to me only after the show was already committed. Hal knew of my regret, and we kept in touch.

Cut to 1975. Hal had just triumphantly opened “A Little Night Music” when “By Jeeves,” the Wodehouse musical for which I wrote the music, bombed in London.

Hal wrote to me when I was at my lowest. The letter contained his mantra. He said he liked my score but “you can’t listen to music if you can’t look at it.” The sets for “By Jeeves” were as hideous as the ones for “Night Music” were gorgeous.

Later, he gave me half an hour in the Savoy Hotel bar. His parting line: “Never be afraid of composing good and brave new work, Andrew, and never be afraid of failure.”

In 1978, Hal directed “Evita,” which then went to New York and, despite horrendous reviews, became Tim Rice’s and my first proper Broadway hit. Afterward, Hal and I met regularly. Even if our shows were very different, our agenda was the same: our love of theater and Broadway. Hal saw “Cats” in previews in London. I still have his notes.

Cut to 1985, when we met at the cocktail party for Tony nominees at the Plaza Hotel. The staff was on strike, there was no chance of the show Hal was nominated for remotely winning, and we ankled elsewhere. The conversation, as I remember it, flowed much as follows.

Me: Hal, would you ever direct a high romance?

Hal: Kid, are you thinking about one?

Me: Yes, ever since I saw “South Pacific.” Jesus, cats and an Argentine dictator’s wife haven’t hit the spot.

Hal: Nor have mine. Go on. …

I explained I’d just read a book called “The Phantom of the Opera.” How had I thought that, buried in a novel that couldn’t decide if it was a detective or horror story, Svengali or Trilby, there was the perfect subject? Then I said I wanted the theater to resemble a disused opera house whose chandelier would rise from the stage as the building returned to its former glory.

Hal said, “Go write the music.”

Cut to this past weekend. The 35-year Broadway run of “Phantom” has come to an end. It’s a personal loss to see the close of this wonderful creation, the last Hal Prince production on Broadway, with its almost 30-piece orchestra and one of the grandest designs that have ever been seen in the theater. The irony is that this past season was its best ever. Perhaps it will rise again.

Is this the end of a Broadway era? No.

For openers, the era of the big original Broadway musical ended long ago. Massive hits such as “Hamilton” and “Phantom” did not originate on Broadway, unlike “West Side Story” and “Fiddler on the Roof.”

Who is taking a risk, as Hal did so wonderfully with Stephen Sondheim? Am I wrong in fearing that a great work like “Pacific Overtures” could not debut on Broadway today unless there was a stage-struck sugar daddy lurking in the wings?

It can cost today $5 million to produce a play in a small Broadway house. Few plays can recoup this, even if ticket prices are astronomical.

Even a medium-scale musical today can cost $18 million to present. The weekly running costs of “Phantom” prepandemic were about $850,000; the additional requirements of the pandemic era pushed it to almost $1 million, and that’s with minimum royalties going to its creators.

No wonder musicals now feature small casts and minimal sets. No wonder producers turn to jukebox musicals with song catalogs everyone knows.

No wonder young creators turn to writing for anywhere other than Broadway to make a living.

I truly don’t know the answer to the ever-daunting challenges of producing Broadway musicals. But I do know that all of us who believe in Broadway must knock our heads together if we care about the kind of future it will have. Shows like “The Lion King,” “Hamilton” and “Phantom” are the exception, not the rule.

First, ticket costs. The average is now around $130, unaffordable for too many people. Add to that significant markups from the digital sale platforms with which theater owners enter into contractual arrangements.

The theatergoing experience must be improved. You cannot, in 2023, have audiences in desperation searching for restrooms during the intermission in a bar across the street in the pouring rain.

The theater unions must also help. It’s hugely in their members’ interests to ensure a healthy, vibrant Broadway. The way multiple union contracts drive up the costs of Broadway shows is unsustainable.

But there is, sadly, an all too likely scenario. Broadway, unlike London’s West End, is a worldwide brand name, inextricably linked to New York. So if you want to establish a brand, having a show on Broadway is like renting an expensive loss leader storefront on Fifth Avenue or London’s Oxford Street. OK, your brand will lose money, but it has to be there to ensure a successful worldwide rollout.

Please, no.

This has been a season of goodbyes, personal and public. With the curtain now fallen in New York on the musical that has been the biggest of my career, I passionately pray that Broadway rediscovers the appetite for new scores and original work that made me so excited when I was, as Hal always called me, a kid.

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Music retail shops now a business on its deathbed 

The responses we got when we travelled across Kenya to check on the state of music shops were far from a sweet chorus.

Nairobi trader: “I no longer sell music in my shop.”

Makindu investor: “This is our last batch of radio cassettes and Compact Discs (CDs). Once we sell them, we will close the music shop.”

Mombasa businessman: “We used to sell music but we are now fully into books. Streaming has affected the music business.”

That this is a business on its deathbed was clear. The days when crowds would gather inside music shops across Kenya to watch the hottest music videos are long gone, it seems.

Speakers that used to boom from various shops have gone silent. Even the hottest hit song hardly draws much attention to the music shops. 

According to the sellers, there are many factors behind this slow but steady decline. Online music streaming apps like YouTube and piracy top the list.

The Nairobi trader who said he no longer sells music is none other than Japheth Kassanga who, in his heyday, was a renowned gospel singer and distributor of Christian music.

“I chose to concentrate on selling musical instruments and church items such as Bibles and sacramentals. 

“We seem to have surrendered to music pirates, and technology is developing faster than music copyright laws. We should start thinking of other options like streaming,” he said. 

The situation is the same at the Assanand Music Shop, once one of the most celebrated stockists of rhumba music.

Least priority

A spot-check at the two Assanand shops on either side of Moi Avenue in Nairobi revealed that selling music is the least of their priorities at the moment.

Conspicuously displayed were various musical instruments on sale. An attendant told us that although they still sell rhumba music, their mainstay is now the instruments.

“Our range of products includes all wind instruments, jazz band equipment, string instruments and accessories, electronics, public address systems, acoustics and so much more,” says a message on the Assanand website which, curiously, does not list any records on sale.

The Makindu investor who plans to close his business after selling all his stalled stock is 63-year-old Ben Mutiso, who set up his shop in the late 1990s when radio cassettes were the in-thing.

He is lucky to be among those who made a fortune from selling radio cassettes before CDs came and kicked them out of the market.

In his shop in Makueni County, we found a handful of radio cassettes and CDs in faded casings that were gathering dust on the few shelves left.

Mr Mutiso’s shop is located in the busiest section of Makindu. It was the home of music in its heyday. Musicians, both gospel and secular, as well as music lovers, made a beeline at the shop which was known to play loud music all day long to draw passers-by. The music has since stopped playing.

“Many secular musicians called to drop their latest albums at the shop. I used to go to Nairobi twice a week to restock the shop, guided by the tastes of our customers,” he recalled.

At some point, Mr Mutiso expanded the portfolio to include small-scale photography and printing services to prop up the business. These are now his lifeline. He struggled to recall the last time he stocked the shop with music.

“It is almost 10 years since I restocked the shop with radio cassettes and CDs,” he said after a pause. According to Mr Mutiso, advancement in technology has dealt a huge blow to retail music stores.

“Car owners are the only remaining customers of radio cassettes. Radio sets that could play cassettes are now obsolete. Yet CDs are more delicate than cassettes. Today, music producers have abandoned these two media. They prefer delivering music in flash discs and online links,” he noted.

Internet affordability

Compounding the misfortunes of the music shops was the advent of smartphones and the affordability of the internet.

“Most potential customers, especially the young generation, access music easily on their mobile phones,” Mr Mutiso said.

In Mombasa, we interviewed Mr Simon King’ori, a salesman at Keswick, a shop along Nkrumah Road that used to stock music. It is he who revealed that the business has segued into the sale of books.

“You can have a shop selling music but you will only get one customer a month. There is no demand for music. Eighty per cent of our sales are from books. From the 1990s up to 2000, we used to get [music] sales,” said Mr King’ori.

Still in Mombasa, we visited the Kassanga music shop within Mwembe Tayari. The family has music shops in Nairobi, Mombasa and Nakuru.

The Mwembe Tayari outlet was a welcome exception because it still sells music, although the size of its clientele is not what it used to be.

“This shop began operating in Mombasa in 1996, selling gospel music. We started with cassettes before moving to CDs,” recounted Daniel Kilonzo at the Mombasa branch of the Kassangas Music Shop.

Mr Kilonzo, who is also a music producer following in his parent’s footsteps, said many music shops have shut down due to technological advancements.

“But we still have vehicles, home theatre radios and other gadgets that play cassettes. So, we still get a few clients. But we get mostly foreigners, especially Americans who come to buy cassettes. These are people who are looking for vintage. They just come looking for African music, not just any other genre.” 

Piracy problem

He said piracy is partly to blame for the dwindling fortunes of the music sale business.

“There is not much from the sector. This has been occasioned by the change in the music industry. Production and distribution of music are now different. It has moved online. And we now have the flash disk,” he said. “We sell gospel instruments, music, hymn books and church items.”

In Kisumu, we also found an investor who is keen on keeping his music sale business open despite the changing times. That is one Peter Otieno Okwach, who has run the Ramogi Music Entertainment Store for 30 years.

Inside his tiny one-roomed office, we found neatly arranged video cassettes and CDs produced over 25 years ago.

He has also continued to keep a DVD player and a television set, gadgets he uses only to test the discs his customers buy.

Mr Otieno said he has continued to stock music recorded in different forms, something that has earned him the nickname “Music Library”.

“I ventured into the music industry in 1993. Initially, I had a shop selling drinks but the earnings could barely sustain my family,” said Mr Otieno.

He started his shop by buying cassettes from producers in Nairobi and transporting them to suppliers in western Kenya.

He says that he had a wide range of customers, mainly musicians and music lovers.

“In a day, I would make between Sh30,000 to Sh40,000 depending on the number of clients,” said Mr Otieno, adding that the earnings helped him in providing for his family of six.

He also worked as a music producer with local Luo musicians including Musa Juma, Ochieng Kabasele, Omondi Long Lilo, and George Ramogi, among others.

He would also help in labelling cassettes while nurturing the upcoming artistes. Mr Otieno, however, abandoned music production after the advent of CDs.

“We were doing a lot of work but had nothing to show for it. A number of sellers would produce fake CDs and sell them to listeners while we, the producers and musicians, had nothing to take home,” he said.

Due to a lack of equipment, he also had to travel as far as Nairobi to get the music recorded. As a result, he abandoned productions and went back to selling cassettes and CDs.

Technological advancements

With technological advancements, Mr Otieno says that the sales of the products are currently low.

On a good day, he can sell three records. But there are days he sells none. That has forced him to venture into other businesses.

Mr Otieno says that he still has a few customers who visit his shop to buy the cassettes. A majority are musicians who are tracing some of their old songs. Most of the musicians pick the music cassettes to play and later store them either in flash disks or CDs.

His shop has now been converted into a library of sorts, frequented by fans of classical music.

“I cannot dispose of the cassettes or leave my shop. There are people who still need my services,” he said. He also says that most of the old songs stored in the cassettes are educative compared to the latter-day releases, something he would want to pass down to his children and grandchildren.

In Vihiga, Eric Mwachi has been a music vendor for over 10 years and has fond memories of the sector that is in its sunset years. Mr Mwachi, who runs a music shop at Mudete market in Sabatia, says selling music nowadays is no longer viable.

He points an accusing finger at technological advancements.

“Anybody who can access any (music) through mobile phones and the internet sees no reason to visit a music shop,” said Mr Mwachi, noting that it has become difficult to sell something that can be downloaded for free from YouTube and other platforms.

“I could make more than Sh10,000 daily in the last eight years from the sale of music and movies. But that is not happening anymore,” he shared.

To keep his business afloat, he is now selling mobile phones, radio sets and their accessories. He also sells electrical appliances such as bulbs, electric cables and gadgets.

In the neighbouring Kakamega County, Salim Mapao, who has been in the music business in Mumias town for years, was making profits as late as 2019 when the steady decline started.

“Times became tough with the introduction of YouTube and online music stores. Many people are simply downloading music to store on their flash disks and are no longer purchasing CDs. This has really killed the market for us,” said Mr Mapao.

It has been 15 years since Mr Mapao opened the Bolingo Music Stores in Mumias. Initially, he used to sell CDs only. The discs would be stacked in his kiosks like books on a shelf.

“If CDs had a decade, it was in the 1990s. This was the brief golden era of CDs before downloading and devices such as smartphones and iPods changed everything. The profit margins were the stuff of dreams. The CD was bringing me up to twice its buying price,” he recalled with nostalgia.

Now he has been forced to diversify his business. His small kiosk is now packed with flash disks, subwoofers, radios and electric gadgets.

Reporting by Elvis Ondieki, George Mwendwa, Winnie Atieno, Pius Maundu, Derick Luvega, Angeline Ochieng and Shaban Makokha

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Julia Michaels Net Worth – OtakuKart

Julia Michaels recently shared a glimpse of her upcoming album, and fans have been waiting for it to come out soon. While some of her followers are intrigued by her professional career, others are eager to explore Julia Michael’s net worth.

Pop singer Julia Michaels, who was born on November 13, 1993, is considered to be one of the most talented singers at the moment. She is presently a resident of Davenport, Iowa, in the USA. The skilled singer has contributed to tracks by musicians like Borgeous. And her maiden EP was published in 2010.

She has co-written tracks for a number of well-known performers, like Selena Gomez and Nicole Scherzinger, demonstrating her proficiency as a songwriter. The post is filled with all the details, such as Julia Michaels’s net worth, her career, and her personal life.

Also read: Bruna Biancardi Net Worth

Julia Michaels: A Look at Her Life

Julia Michaels was born in Davenport, Iowa, in late November 1993, in the United States. This American singer-songwriter uses her stage name rather than her own original name, Julia Carin Cavazos.

Julia Michaels earnings
Julia Michaels. (Credits: Getty)

Kelly Clarkson, Britney Spears, Gwen Stefani, Zedd, Demi Lovato, Fifth Harmony, Justin Bieber, Selena Gomez, Kygo, Years & Years, Jason Derulo, Zara Larsson, and others are just a few of the notable musicians she has worked with. She co-wrote the song “Can’t Do It Without You,” which served as the anthem for the well-liked Austin & Ally Disney Channel sitcom.

She is said to have acquired her first baby grand piano at the age of 11. So cute, right? And at the age of 16, she is said to have produced “Born to Party,” her debut hit.

At the moment, information regarding her elementary education or high school is unavailable. But we will be the first ones to report anything about the same as soon as it becomes available.

Some people might not know, but the singer has written “Fire Starter” with Demi Lovato for her. Julia, due to its immense passion and power, Scorpio is one of the zodiac signs that is most misunderstood.

This sign is frequently misinterpreted as a fire sign. She is a Scorpio, and these people have extraordinary intuition and clairvoyance. They are so alluring and enticing because they never reveal their true selves and because of their cryptic characters.

Julia Michaels: Career

American soprano, lyricist, performer, and composer Julia Michaels is extraordinarily talented and varied. She has received praise all over the world for her unrivaled contribution to the songwriting profession and her excellent vocal abilities.

Julia, who was nurtured in a musically-loving family and was born in Davenport, Iowa, developed her songwriting and singing abilities early on. She has won over fans all around the world with her distinctive musical style, which combines elements of pop and country. 


Julia Michaels
Julia Michaels. (Credits: Getty)

The critically regarded works “Sorry,” “Issues,” and “Uh Huh” are excellent examples of Julia’s great literary ability. These works exhibit not only her singing prowess but also her writing prowess.

With a wide and intricate vocal spectrum, Julia is considered to be a musician with a variety of skills. Her songwriting and vocal prowess have earned Julia numerous honors, including the MTV Video Music Award, the BMI Pop Award, and the iHeartRadio Music Award, among others.

Many young musicians all over the world have been inspired by her service to the music industry.

Julia Michaels: Awards and Contributions

Here are some of the American singer-songwriter Julia Michaels’ greatest accomplishments and honors: Billboard Women in Music Rising Star Award, ASCAP Pop Music Award for Songwriting (“Issues” and “Uh Huh”), BMI Pop Awards for Songwriting (“Issues,” “Sorry,” “There’s Nothin’ Holdin’ Me Back,” “Friends,” and “Uh Huh”), iHeartRadio Music Award for Best New Pop Artist, MTV Video Music Award for Best New Artist, and Grammy Award nomination for Song of the Year.

These are only a few of Julia Michaels’ important honors and accomplishments. Through her talent and commitment, Julia Michaels has had a profound influence on the American music industry.

What is Julia Michaels’ net worth?

The time has come; this is the moment you have been waiting for. What is Julia Michaels’s net worth? She also performs at live events and on globe tours, which has a big impact on her net worth. Julia Michaels’ projected net worth as of April 2023 is greater than $5 million. She has amassed this enormous amount of money as a result of her fruitful career as a musician, singer, and composer.

Also read: Casey Thomas Brown Net Worth & Earnings

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Snap signs new music licensing deals to expand its Sounds library

Snap has signed a deal with multiple music labels to expand its Sounds library, the social app’s product that lets people use song clips in Snaps and Stories.

The company said participating labels include U.S.-based UnitedMasters, Netherlands-based BUMA/STEMRA and SUISA Digital Licensing AG. This includes a repertoire of IP bodies including SUISA: Switzerland, AKKA/LAA: Latvia, Albautor: Albania, Armauthor: Armenia, Autodia: Greece, COMP: Pakistan, EAÜ: Estonia, GCA: Georgia, LATGA: Lithuania, SOZA: Slovakia, Abramus Digital: Brazil, Soundreef: Italy and multiple direct-licensing publishers.

A “selection” of work from singers and songwriters signed up with UnitedMasters will be available in the SoundLibrary, Snap said. Plus, BUMA/STEMRA and SUISA Digital’s library will add sounds from local artists.

“We are excited to expand the Snapchat Sounds experience as we continue building new tools and developing music industry relationships globally,” said Ted Suh, global head of Music Partnerships at Snap said in a statement.

“By offering a wider selection of music, we want to enable discovery and make it easier for Snapchatters around the world to express themselves creatively with the music they love.”

The company said that emerging artists working with UnitedMasters will be eligible for grants through the Sounds Creator Fund. Snap started this program last year in partnership with DistroKit to award up to $100,000 per month (or $5,000 to 20 songs per month to upcoming musicians.)

This grant also provides creative support to artists in establishing “relevancy” with the audience. Snap includes popular licensed songs in Sounds playlists so people can use them in the video clips on the platform. With the inclusion of new artists through this label deal, there will be more competition to get into those 20 spots.

Snap first debuted the Sounds product in 2020 in response to TikTok becoming a hotbed for music discovery. Over the years, the company has inked deals with multiple labels, including Warner Music Group, Merlin (including their independent label members), NMPA, Universal Music Publishing Group, Warner Chappell Music, Kobalt BMG Music Publishing and Universal Music Group. Additionally, it has content from over 9,000 independent music publishers and labels in its library.

Earlier this year, YouTube made a new music licensing tool called Creator Music available to all YouTube Partnership Program participants in the U.S.

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Features – L.A. GUNS’ TRACII GUNS: ‘I’ve Never Been A Vindictive Guy’

By David E. Gehlke

There is never a dull moment in the L.A. GUNS camp. Whether it’s lawsuits and mudslinging with former drummer Steve Riley, lineup changes or the complicated relationship between longtime vocalist Phil Lewis and founding member / guitarist Tracii Guns, L.A. GUNS have generated so much news and internet fodder that it has sometimes overshadowed their studio output and 1980s catalog, which has aged as well as any of their peers. Guns and Lewis have been productive since they reunited in 2017, releasing four LPs, including their latest, the LED ZEPPELIN-inspired “Black Diamonds”, but not all has been rosy between the two, with both men admitting they nearly parted ways in late 2022 after their manager split.

But with the Riley lawsuit regarding the L.A. GUNS name now put to bed (the drummer has received permission to tour and record as “RILEY’s L.A. GUNS”) and a new relationship with Australian guitarist Orianthi now in full bloom, the storm clouds over Tracii Guns appear to be subsiding. When the guitarist rang BLABBERMOUTH.NET, he was in excellent spirits and more than willing to field a variety of topics — starting with a very personal Instagram post he made in February detailing his turbulent 2022.

Blabbermouth: You made a social media post about your new relationship with Ori and everything you went through in 2022. Can you delve into that?

Tracii: “It was crazy because I had to record two albums going through… It’s so hard to describe because everyone’s situation is different when you split up from somebody. Everybody’s situation is unique to them. In my case, there was no betrayal. When you split with somebody you love and have ‘adult’ commitments, not ‘dating’ commitments or weird things, it’s like leaving a family member. That’s the best way I can describe it. You don’t get sad. You get confused. Within the confusion leads to frustration and with the frustration, there are a lot of reactions, like a lot of fast reactions, between the two people. There’s a child involved and I live in two countries. It’s very expensive to have that relationship. There’s a lot of time, money and a lot of life invested. We’re still living together when I’m writing these records and we’re broken up. We get along great, but there’s this impending doom knowing that I must leave Denmark; I need to get on a tour bus and tour for ten weeks. All that music came out when my nervous system was completely unregulated. It’s just a weird, limbo kind of feeling. A lot of rain in Denmark, which adds to the miserable darkness. To say that I’m glad 2022 is in the past, yes! Absolutely. There is newfound freedom, obviously. I have two kids that don’t live with me. I left this house when I met my ex-wife when my son was ten. His mom and I hadn’t been together in a couple of years, but we still lived together. Then I left, and that was a huge scene. Commit to this other thing and really commit and move to Denmark, then it all comes down. The best way to look at it is, ‘Damn, that was a good time.’ That’s how you wrap it up. Like, ‘Wow, that was really fun. Summer camp is over now.’ [Laughs]

Blabbermouth: You’ve lived the rock and roll life, but wouldn’t having some cohesion and peace be nice? Or would that be boring?

Tracii: “Do I need to be honest?’

Blabbermouth: If you want.

Tracii: “It’s fucking boring! I got to lay it out there. I’m not taking anything away from my ex-wife. She’s a beautiful, stunning, amazing woman. So beautiful. She went way beyond any expected duties as a wife. She’s incredible. But I gotta say the friction that did arise, and I’m glad you asked this question because people are scared to go here, but a lot of the friction that arose in that relationship was because I was really fucking bored. We don’t have television. We don’t have many of the things I’m used to. You wake up, walk the baby to daycare, come home, work on music, we’re in the same living space, and she’s trying to get her career together. Then I would have downtime and during that downtime in Aarhus, Denmark, it’s wonderful. It’s a small town. The town is the size of Disneyland and the outskirts beyond. I’m living in Disneyland. You can walk around and do stuff like that, which is great. But I felt like I had seen or bought everything after a while. Our apartment is in the best location in the city overlooking the ocean. I set up what appears to be on the outside to be a perfect life. It really was, and we bought into it. Then I realized, at some point, that I really missed my other son when I was there. I called him in the middle of the night every so often. It would be the afternoon here. I would express to him how much I missed him and loved him. That started adding to the psychology of the whole thing. Then I look at my little boy and don’t want to leave him, nor do I want to leave my big boy. Besides being a remote father to one or the other, I started feeling that my purpose in that family lifestyle was pretty… I’m a great dad, but still meaningless. What am I doing for myself? If you don’t take care of yourself and do the things you enjoy…”

Blabbermouth: What good are you to anyone else?

Tracii: “Exactly. That’s where it was headed. She had the foresight to be like, ‘Hey, what’s going on with you?’ I said, ‘I don’t fucking know!’ [Laughs] I finally had to go on tour. Sitting on a tour bus, 24 hours a day, literally, for ten weeks, sometimes those weeks had three days off in a row, just processing this insanity was wild. But that time on the stage was valuable. It was like, ‘This is awesome.’ My shit is so loud that you can feel it while standing in front of it. I would be so bummed when we would come offstage. I would be like, ‘All right, now what? I’m not going to fuck any chicks or get loaded. I guess I will watch this other band and be nice to people.’ That was 2022. Every Wednesday, I had therapy sessions over Zoom. Then, I came back and around Thanksgiving, I met Ori. She got Covid immediately. She was sick as a dog. She had the house doctor over a couple of times, and we finally got together in the middle of January. We’re cool.”

Blabbermouth: You and Ori seem like a nice story since L.A. GUNS usually has a bad run of news. It was refreshing to read your post.

Tracii: “The L.A. GUNS thing, I’ll tell you how I look at all that weird friction and betrayal internally. What a fucking story. It’s a wild story. It’s what rock and roll really is. Without a story, talk about boring.” [Laughs]

Blabbermouth: But how much has this worn on you at some point? You did BRIDES OF DESTRUCTION. You came back into the band, Phil came back, here’s Steve over to the side saying he’s the band, and here’s you. That has to be a drag to keep going through all that.

Tracii: “I never quit L.A. GUNS, which is the really weird misconception in the story that Steve Riley tells. ‘He abandoned us!’ It’s very dramatic and totally untrue. I called Nikki [Sixx, MÖTLEY CRÜE] on a break. We had just released ‘Waking The Dead’. I said, ‘Hey. I need a break from my band. The decisions that are being made, it’s just not fun right now. Do you want to do something?’ He was like, ‘Absolutely.’ ‘Waking The Dead’ comes out and we’re going on tour. A couple of weeks into the tour, I let everybody know. I said, ‘Guys. I’m going to do two records with Nikki. I don’t know what we’re doing. I’m going to take a break from L.A. GUNS. You guys can continue. Do whatever you want to do. I don’t want to take money out of your pockets. This is something I need to do.’ Everybody was totally cool. Everybody was like, ‘Man, we get it. Cool. It’s fine.’ Then they got Chris Holmes [W.A.S.P. ], which I thought, ‘Wow! Fucking amazing.’ Then he got in it and didn’t like it. Spitfire Records‘ president [Paul Bibeau], he called me and went, ‘Hey man. I got a quick question. Since you’re not in the band right now, do you want to separate your royalties?’ I’m like, ‘What royalties?’ They’re an independent label. I never expected that from the indies. He said, ‘We’ve sent 152,000 dollars to Steve Riley over the past three years.’ I’m like, ‘What?’ He’s like, ‘Yeah. You guys get royalties.’ There was still physical product. We were still selling mainly CDs and whatever was available. Excuse me, it was 49,000 dollars, and later, I found the rest from CMC International. There had been this collection of money. I immediately called Steve and said, ‘I just got this phone call and they said this and now they will send my royalties to me. What did you do with those other royalties?’ He said, ‘We have bills, bro.’ I said, ‘That’s not the responsibility for my performance on record. That money gets dispersed to the people in the band at the time and Phil. Then if you have bills, you can ask us. We have band bills. Would you guys mind pitching in?’ I’m thinking about that six-year spread where we were with CMC through Spitfire, but how did he spend 152,000 dollars on bills? We made money. There was never a time in the career of L.A. GUNS that we didn’t make a lot of money. That’s what happened. At that point, he goes, ‘We had bills.’ I said, ‘I have to go through the accountings with you now.’ He said, ‘No!’ And he hung up. I was like, ‘What the fuck just happened? How could this happen? Why did this happen? Why did this man I literally gave a career to, do this to me and then hang up on me?’ Of course, at that point, I’m never playing with that man again. I’m the kind of guy — I’m a super-nice guy, but I’m little, and if I feel trapped, I got Napoleon‘s disease. I will fuck you up so fast and hard and be finished and not even remember what I did. It’s the nature of the person I am. Instead of getting mad, I was like, ‘I got scissors. I’m cutting this away. I’m going to do this with Nikki and have a great time. When that’s done, I’ll have to figure out what I will do.’ The whole fable that I left my own band is pretty silly. The band might as well be called ‘TRACII GUNS‘. Hey, Tracii Guns, I’m leaving, so you guys be TRACII GUNS.’ It doesn’t make any sense. This came out of nowhere when my baby was born in 2020: Some guy goes, ‘I’ll pay your legal fees because I hate this guy [referring to Riley].’ I’m like, ‘That’s an expensive hatred.’ I wasn’t excited about that battle, even though I didn’t have to pay a dime. I knew that was going to be stressful. Evidence, talking, we had multiple lawyers, tons of lawyers. I have a brand-new baby. I’m living in Denmark. Covid lockdown started. Everything at once. A perfect storm. I’m doing depositions at three a.m. in Denmark while I should be sticking the bottle in my kid’s mouth. But I sat through it, I did it and we came to the weirdest fucking agreement. That’s what it is. There is more in the end for me so that people would shut the fuck up with their baseless opinions. People have so much self-importance on the Internet. They never let things go looking for attention. I said it straight out on Eddie Trunk‘s show: That motherfucker is a thief, a liar. He is! A duck is a duck. A thief and a liar is a thief and a liar. I had my day in court and that’s all I got out of it.”

Blabbermouth: I’m paraphrasing, but you said you could have taken Steve for much more than you did, correct?

Tracii: “I’ve never been a vindictive guy. I have a big mouth. I’ll burn somebody to the ground, but I’m not vindictive. I don’t want to cause anyone pain or loss of wages. I certainly don’t want to defame anybody. That’s not part of the game. That’s cowardly shit. When Phil and I were younger, we had a go at each other on the internet, which was very cringe-worthy. I don’t even want to go back into it with each other. [Laughs] That stems from, now that I’m very therapized, a lot of pain that each of us has. We always had a great relationship, but somebody else always seemed to muddy the water and drive the wedge between Phil and me. We had this conversation again because our manager quit at the end of the year. Phil almost left. I get on the phone and ask, ‘What’s the problem?’ He’s like, ‘Well, [the manager] was this buffer between you and me.’ I go, “Haven’t you noticed that every time we get in this position, it’s because of somebody else? Somebody else is there and being selfish about something that they don’t feel they’re being rewarded for, so they’ll point the fingers at you or me.” He, very quickly, turned around and was like, ‘Yeah. You’re right.’ The strength of L.A. GUNS lies with Phil and me.”

Blabbermouth: What would you have done had Phil left?

Tracii: “Just really boring the shit out of my fans with not-L.A. GUNS.” [Laughs]

Blabbermouth: It must feel nice to get “Black Diamonds” out and start thinking about new material, all things considered.

Tracii: “I just started writing the next SUNBOMB record with Michael Sweet [STRYPER]. I didn’t think I had that much metal in me. I told my girlfriend, ‘I don’t want to do this.’ She said, ‘Why not?’ I said, ‘I don’t think I have it in me.’ The first SUNBOMB record is pretty rad.”

Blabbermouth: It really is. And let’s not forget that you have a metal side.

Tracii: “It’s a whole different perspective. You got this guy and this guy and this guy. But the metal guy, I have to be really inspired to be in that mood. I have to be listening to fucking BURZUM and [BLACK] SABBATH. If I’m in that headspace, I’m like, ‘Oh man…”

Blabbermouth: Tracii Guns listening to BURZUM. Who would have thought? His (Varg Vikernes) political and racial views are horrible, of course, but musically, those early BURZUM records are some of the best black metal.

Tracii: “I agree. To me, BURZUM, more so than DARKTHRONE, really encompasses what punk rock tried to say in the ’70s. BURZUM is just all angst. His voice is so tortured, and the music is beautiful. The music is amazing. If I listen to that, Randy Rhoads play live, SABBATH and old SCORPIONS, I’m right there. Ori played me something. She’s a fucking heavy guitar player. She can play really heavy. She goes, ‘Look at these dynamics. She plays this E and C chord and does this riff. She goes, ‘You can play that.’ Then my friend, Julie Tan, recently purchased AEA Ribbon Mics, which are really awesome. They are big-time television-quality microphones. She came over and left some mics here. I threw some in front of my Marshall and started playing. I wrote seven songs in three hours. I wrote one and sent it to Adam [Hamilton], the drummer who plays on all my records. He goes, ‘Let those floodgates open. This is the shit.’ I sat back down and popped all that shit out. Now I’m demoing it up. But what will a frictionless L.A. GUNS record sound like? I sent Phil all the songs when we got together in 2017. He was texting me every day, ‘Oh, this is great.’ Then I get the text, ‘I don’t know what to write. I’m so happy right now. I have nothing.’ I’m like, ‘Oh, wow. That’s a weird position to be in.’ I have a co-writer, Mitch Davis, in New York. I have already been working on music with Mitch for other stuff. I said, ‘Hey, Mitch. Do you want to write the whole L.A. GUNS record with me? He’s like, ‘Yeah!’ I introduced Phil to Mitch. They instantly got along, and those two have been collaborating ever since. The process is really smooth. When I approach a new L.A. GUNS record, I don’t listen to the last one. I always love the last record we do, but I’m in danger of, ‘Oh, I can do that again if I tweak this and that.’ With ‘Black Diamonds’, starting with ‘Immigrant Song Part II’ [referring to ‘You Betray’] I needed that power. I needed to open an album with that power to let my body scream the emotions out. It goes into some pretty cool shit.”

Blabbermouth: This is your ZEPPELIN album. “Gonna Lose” is another good one.

Tracii: “I wished we would have released that one instead of ‘Shattered Glass’. That seems to be the one everyone gravitates towards. The drums are savage. If you listen to only the drum tracks, you’d be satisfied. There’s a lot of ZEPPELIN influence because when you get depressed, you always go to your favorite music. I was like, ‘I know this sounds like ‘Out On The Tiles’ and ‘Immigrant Song’, but I will put so much distortion on the guitar that it will be a new thing.’ People love it. If I were going to do a ZEPPELIN cover record, I would never try to replicate what they did. You can never top it. All you can do is add modern technology and power.”

Blabbermouth: Are you learning anything from Ori on the guitar?

Tracii: “I have never been in the presence of such an amazing guitar player. She’s blues-based. We’re cut from the same cloth, same influences, but oh my fucking god, the strength of her fingers, right hand and left hand. It’s amazing. Her thing right now is that she plays out of one combo amp live. It makes me so jealous. I would give anything to bring my Marshall combo to a gig. She fucking does it and it sounds better than anybody else. She plays her ass off. She’s an inspiration not just to me but to many people. Your girlfriend is home and you’re sitting on the couch watching ‘Ted Lasso’, but she’s got the acoustic out and blowing your mind. She’s like, ‘Oh, I’m just watching the show.’ It’s surreal. I’m sure I will pick up many of her incredible traits as a guitar player as time goes on. But just to hear her play personally from day-to-day is such a privilege.”

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Introducing Horace Tempo: Emerging Musician Making Waves with Unique Sound and Meaningful Message – Music Industry Today

Introducing Horace Tempo: Emerging Musician Making Waves with Unique Sound and Meaningful Message – Music Industry Today – EIN Presswire

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Music On Snapchat: Snap Injects Life In Sounds Library With Fresh Music Licensing Deals – Snap (NYSE:SNAP)

  • Snap Inc SNAP Snapchat inked new music licensing deals to expand its Sounds library.
  • The partners included UnitedMasters (US), BUMA/STEMRA (Netherlands), and SUISA Digital Licensing AG, which consists of the repertoire of SUISA (Switzerland), AKKA/LAA (Latvia), Albautor (Albania), Armauthor (Armenia), Autodia (Greece), COMP (Pakistan), EAÜ (Estonia), GCA (Georgia), LATGA (Lithuania), SOZA (Slovakia), Abramus Digital (Brazil), Soundreef (Italy), and multiple direct-licensing publishers.
  • Also Read: Industry Checks Confirm: Snap Is Regaining Competitive Edge, Analyst Says
  • With over 375 million daily active users, Snapchat Sounds offer a powerful distribution tool for artists and creators to share their music globally.
  • Snap said emerging artists working with UnitedMasters would be eligible for grants through the Sounds Creator Fund. Snap started this program last year in partnership with DistroKit to award up to $100,000 per month (or $5,000 to 20 songs per month to upcoming musicians.), TechCrunch reports.
  • Snap first debuted the Sounds product in 2020 in response to TikTok becoming a hotbed for music discovery.
  • Snapchat currently has deals with major and independent record labels and music publishers around the globe, including Universal Music Group, Universal Music Publishing Group, Sony Music Entertainment, Sony Music Publishing, Warner Music Group, Warner Chappell, Kobalt, DistroKid, BMG, NMPA publisher members, Merlin, Empire Distribution, and over 9000 independent music publishers and labels.
  • Price Action: SNAP shares traded higher by 0.19% at $10.64 on the last check Thursday.

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Bad Bunny Makes History At Coachella And Dr. Simi Appears Again

One of the most anticipated singers of the coachella festival is the Puerto Rican Bad Bunny who precisely made history by being the first headliner Latino for the first time in the history of this musical event.

Yesterday a new edition of the coachella festival which takes place every year in the desert of Indio, California, in the United States, and is organized by the entertainment company Golden Voice.

The festival will take place from Friday, April 14 to Sunday, April 16 and from Friday, April 21 to Sunday, April 23, with the same performances and schedules at each end, due to the high demand that the massive event usually has where they will be presented. blackpink, Frank Ocean, Rosalía, Gorillaz, Björk, Kali Uchis, Becky G, Burna Boy, Charlie XCX, among others.

Practically Bad Bunny He is the singer of the moment, since he has given a lot to talk about with his music, a few months ago it was announced that he was once again the most listened to artist in the industry. During the year 2022, the singer gathered more than 18 thousand 500 million streams. In 2020 and 2021 it was also the most listened to, and in 2021 alone it had 9.1 billion views, it also managed to gather more than 5.3 billion views on YouTube, only surpassed by the South Korean band bts.

Bad Bunny makes history at Coachella and Dr. Simi is present again

He dr simi It is one of the most popular botargas in Mexico and has managed to position itself in the best way in most of the concerts that take place not only in the country but also abroad, and that is that several people have chosen to customize Dr. Simi’s stuffed animals to throw them on stage, this has been done already a trend that is usually present, this fact began when they threw it at the artist Aurora Aksnes at his show at the Corona Capital in 2021.

The strategy that is carried out with Dr. Simi is that of “ambush marketing.According to some specialists, this term can be defined as a strategy of marketing that companies use for the purpose of advertising, taking advantage of the popularity and positioning of brands related to a high-impact event (musical, sporting events, etc.), although it should be noted that this happens without paying royalties or being official sponsors of the event. same.

yesterday in the coachella festival during the presentation of Bad Bunny the traditional action of throwing a stuffed animal from the dr simi, and before this the singer decided to lift the doll from the stage with which he walked for a few minutes while he sang some songs.

So much Bad Bunny as Dr. Simi represent a success story in terms of your personal marketing.

During the festival, the Puerto Rican singer advised his fans not to believe the false accusations against him, and it is clear that he is doing everything possible to clear his name after the controversy that arose with a fan who took away her phone and then throw it away.

Now read:

Dalai Lama apologizes after video with boy went viral

Dr. Simi becomes the protagonist of stop motion horror shorts

Campaign filters mothers in their children’s video games to “scold” them

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