Posts in category: Sunset Music MusicDish

The ongoing legal battle between Megan Thee Stallion and her label 1501 Certified Entertainment has taken another nasty turn around this weekend’s American Music Awards.

According to court documents obtained by Billboard, the “Savage” rapper (born Megan Pete) was granted a restraining order against 1501, along with her distributor 300 Entertainment, after claiming 1501 “unlawfully” took steps “to block or interfere with Pete exploiting, licensing, or publishing her music” in the lead-up to the upcoming AMAs on Sunday (Nov. 20). Filed in Harris County District Court in Texas, the order says Megan “provided evidence” that the company “recently engaged and will continue to engage in threatening and retaliatory behavior that will irreparably harm” her music career.

Without providing further detail on what 1501 or 300 allegedly did, the court notes that it filed an ex parte order — essentially, a type of emergency order granted without waiting for a response from the other side — “because there was not enough time to give notice to Defendants, hold a hearing, and issue a restraining order before the irreparable injury, loss, or damage would occur.” It adds that voting for the AMAs, where Megan is nominated for favorite female hip-hop artist, closes on Monday night (Nov. 14) at midnight, and that Megan “will suffer irreparable harm if her music cannot be used in conjunction with her promotion for the AMAs.”

Under the order, 1501, 300 and anyone acting “in concert or participation with” them are restricted from “preventing or blocking the use and exploitation” of Megan’s music in promotional content for the AMAs, — including by “threatening or otherwise attempting to intimidate or coerce” third parties not to use it — through Nov. 20. It also sets a hearing on Megan’s restraining order request for Nov. 22.

The restraining order is just the latest volley in a more than two-year-old legal battle that began in 2020 when Megan filed a lawsuit alleging that 1501 founder Carl Crawford tricked her into signing an “unconscionable” record deal in 2018 that was well below industry standards. She claims that upon signing a management deal with Jay-Z‘s Roc Nation the following year, she got “real lawyers” who showed her that the 1501 agreement was “crazy.”

In February, Megan filed a separate lawsuit claiming 1501 had refused to count her 2021 Something for Thee Hotties release as an album — a pivotal definition, as her 1501 deal states that she must produce three albums to fulfill her obligations. 1501 quickly countersued, arguing that Thee Hotties included just 29 minutes of original material and therefore didn’t qualify.

In September, Megan filed yet another lawsuit seeking more than $1 million in damages, claiming that 1501 “systematically failed” to pay her the proper amount of royalties she was owed and had “wrongfully allowed for excessive marketing and promotion charges,” in addition to allegations that the label leaked her most recent album Traumazine. In response, attorneys for the label argued it was actually Megan who had failed to pay 1501 its fair share of money she made from endorsements, partnerships and other business deals, as well as requirements related to publishing royalties. They further added that any claims of underpayment of royalties should be redirected to 300 Entertainment.

Representatives from 1501 and 300 did not immediately respond to Billboard‘s request for comment.

Photo Credit: LiveOne

In late October, LiveOne (NASDAQ: LVO) execs indicated that their company would post record revenue and membership growth for Q3 2022. Now, the Los Angeles-headquartered business has officially unveiled the financials, including all-time-high quarterly revenue of about $23.53 million.

LiveOne, which was ordered to pay $9.8 million to SoundExchange about three weeks back, just recently detailed its Q3 2022 showing (covering the second quarter of its 2023 fiscal year). According to the company’s performance breakdown for the three months ending on September 30th, revenue improved by 7.33 percent year over year to crack the aforementioned $23.53 million.

Meanwhile, amid an across-the-board effort to cut spending, expenses attributable to cost of sales, marketing, product development, and general and administrative categories alike dipped from Q3 2021 and totaled $24.52 million, the document shows. Moreover, LiveOne relayed that its net loss for the third quarter had finished at $3.41 million, about 78 percent less than the net loss reported for the same period in 2021.

(For the six months ending on September 30th, LiveOne identified a net loss of about $2.06 million, or roughly 91 percent less than the corresponding figure for 2021.)

By unit, LiveOne pinpointed $2.43 million in net income for the audio division (including Slacker and PodcastOne) during Q3 2022, up from a $996,000 net loss in Q3 2021, besides adjusted EBITDA of $6.53 million. But further net losses in “other” and corporate, though far smaller than in 2021’s third quarter, nevertheless contributed to the previously noted net loss of $3.41 million.

On the usership side, LiveOne – which has long touted its “nine-year exclusive partnership with Tesla” – communicated that paid members had totaled 1.8 million as of Wednesday, November 9th, for a net increase of 209,000 from June 30th. Additionally, LiveOne stated that it had 800,000 ad-supported users as of the same date, for 2.6 million total users.

Next, higher-ups reiterated that LiveOne had “strategically opted to delay any new live tentpole or pay-per-view events until its fiscal year ending” on March 31st, 2024, instead utilizing “its capital and resources to strengthen its balance sheet, buyback stock and focus on the growth of its profitable businesses.”

Looking forward to 2023, company officials doubled down on plans to file an S-1 to spin off PodcastOne by Thursday, December 15th; the podcast offering is said to have boasted a “U.S. unique monthly audience” that “surpassed 6.7 million in September 2022.”

Plus, CEO Rob Ellin during his business’s earnings call predicted that LiveOne could attract 10 million subscribers and achieve $1 billion in revenue as well as EBITDA of $150 million “within a five-year period.”

Lastly, LiveOne also took the opportunity to announce that its board had expanded an existing stock-buyback program by allocating another $2 million to repurchase common shares before a December 31st, 2023 expiration date. LiveOne stock’s value increased by 4.1 percent during today’s trading hours to finish at 76 cents per share.

Friendly House has zeroed in on a list of honorees for its upcoming awards luncheon.

Set for Saturday at the Beverly Hilton in Beverly Hills, the 32nd annual Friendly House luncheon will honor Oscar-winning music guru Paul Williams (Person of the Year), entertainment attorney Dina LaPolt (Visionary Award), Dancing With the Stars vet Cheryl Burke (Shining Star Award), and Dr. Carolyn Coker Ross (Excellence in Service Award).

The event will also feature a tribute to author and celebrity hairstylist Carrie White, who will have a Friendly House scholarship dedicated in her name. Also on the program: Lisa Loeb and Eve Nelson will perform while Caroline Rhea will serve as host.

Williams is a lyricist and composer who has won an Oscar, multiple Grammys, two Golden Globes and been inducted into the Songwriters Hall of Fame. Williams serves as president and chairman of the board of the American Society of Composers, Authors and Publishers (ASCAP) and has a long list of credits with notable entries that include “We’ve Only Just Begun,” “You and Me Against the World,” “An Old Fashioned Love Song,” “The Rainbow Connection” and the theme from “A Star is Born.”

LaPolt, named one of THR’s top music attorneys earlier this year, is founder and owner of LaPolt Law. Burke is perhaps best known for her turn on Dancing With the Stars. Coker Ross, a graduate of the University of Michigan Medical School, serves as the CEO of the AnchorProgram, a non-diet online program for individuals with binge eating disorder, emotional eating and food addiction.

For 71 years, Friendly House has been on the frontlines by helping women in recovery by providing culturally responsive, attainable treatment regardless of their resources.

Squirming, I agreed to review the new book “Music Mavens: 15 Women of Note in the Industry,” by Ashley Walker and Maureen Charles. I have known one of the co-authors for years, and her late husband, Jon Charles, for even longer. I prayed to Euterpe, music’s muse: “Please, please, please let me like it!” I’m extremely relieved to say, “Like it? I love it!”

I have some music industry bona fides (more like music industry-adjacent), which helps when reading a book about the industry. My first ex-was-band, Larold Rebhun, is a sound engineer and worked at Cherokee Studios in Hollywood, which was a big deal! There, I got to meet Ringo and Harry Nilsson. I was invited to a party with Larold at Steve Cropper’s backyard, where I tackled John Mellencamp to everyone’s amazement — except for my husband’s. I am a singer myself and know my way around a piece of music. Larold once called me at 1:00 a.m. and said, “Can you get down to Cherokee in half an hour and sing backup? One of Nils Lofgren’s backup singers had to bail on the session.” A half-hour later, I was in the studio singing my heart out. Larold and I are good friends to this day, and his 3rd wife is one of my favorite people on the planet.

My current husband, Ken Gruberman, has been a music supervisor, contractor, arranger, and music preparation pro for decades. It would take too much of this column to describe what he does, although he and his teams have won Grammy awards. One of my first dates with Ken was going to the Barbra Streisand scoring stage at Sony/MGM to record the score for HBO’s glorious mini-series “John Adams,” played by a 63-piece orchestra.

The main commonality with both Larold and Ken is the apparent continuing white cis-male domination of the music business. Except for the equity and inclusiveness of the players in studio orchestras, the women are, shall we say, lacking?

This brings me back to “Music Mavens” and why it’s such an essential read for young people. A supposed-Y.A. 10-volume series from Chicago Review Press called “Women of Power,” “Mavens” is the ninth in the series. I say “supposed-Y.A.” because it’s utterly delightful for people of all ages.

Clichéd as it is, I could not put it down, and I highly recommend that young men also read it. To normalize female and non-binary folks in any industry, the white male-identified folks need to envision them there. When they’re missing from the landscape of that industry, more than the M.I.A. folks will notice their absence, and that is how allies are created.

What a difference “Music Mavens” would have made in my life had I read it in my formative years. “If you can see it, you can be it” is not just a platitude. Luckily for us, humanity has people whose imaginations are vivid enough to override the need to see someone exactly like them and say, “I want that. If he can do it, I can do it!” When I first saw BeatBoxing, I thought, “Wow, had I seen that when I was 4, I’d be doing it for sure!” I always loved making unconventional sounds with my voice and throat.

“Music Mavens” is full of women who are trailblazers, women who were encouraged by the dominant demographic to go for it even in the face of some nasty disparagers. The most under-the-radar hostility was hurled at beatboxing champ Kaila Mullady. She won in a field that was not, and still is not, female friendly. When she triumphed, the young man she “beat” came over to her and said, “You only won because you’re a girl.” On the flip side of the coin, Kaila was encouraged and mentored by Kid Lucky, a master beatboxer who was secure enough in his talent that he could be generous to Kaila.

The tome has something for everyone, nationally and globally. If relating to human beings simply because they are human is your jam, this book is full of every career you can think of in the music industry, and then some: engineering, composing, music photography, performers, and more. And, if you’re inspired by someone with a similar cultural background like Vietnamese, non-binary, or Latinx, you are in for a massive treat.

“Music Mavens: 15 Women of Note in the Industry” is being released this week. Go to musicmavensbook.com to sign up for notices of book signings, online events, and maven updates. In the LA area, you can buy it at Vroman’s, our renowned local bookstore, and support a brick-and-mortar business.

Meanwhile, I asked Larold how many female recording engineers he’d met or heard of over the years. He texted that he only knew of three. “Music Mavens” is a tribute to creating possibilities for people. If something seems impossible, we humans just won’t pursue it. Giving “Music Mavens” to your musically inclined young friends as a gift has the potential to change their lives… and yours.

Ellen Snortland has written this column for decades and also teaches creative writing. She can be reached at ellen@beautybitesbeast.com. Her award-winning film “Beauty Bites Beast” is available for download or streaming at vimeo.com/ondemand/beautybitesbeast.

The ongoing legal battle between Megan Thee Stallion and her label 1501 Certified Entertainment has taken another nasty turn around this weekend’s American Music Awards.

According to court documents obtained by Billboard, the “Savage” rapper (born Megan Pete) was granted a restraining order against 1501, along with her distributor 300 Entertainment, after claiming 1501 “unlawfully” took steps “to block or interfere with Pete exploiting, licensing, or publishing her music” in the lead-up to the upcoming AMAs on Sunday (Nov. 20). Filed in Harris County District Court in Texas, the order says Megan “provided evidence” that the company “recently engaged and will continue to engage in threatening and retaliatory behavior that will irreparably harm” her music career.

Without providing further detail on what 1501 or 300 allegedly did, the court notes that it filed an ex parte order — essentially, a type of emergency order granted without waiting for a response from the other side — “because there was not enough time to give notice to Defendants, hold a hearing, and issue a restraining order before the irreparable injury, loss, or damage would occur.” It adds that voting for the AMAs, where Megan is nominated for favorite female hip-hop artist, closes on Monday night (Nov. 14) at midnight, and that Megan “will suffer irreparable harm if her music cannot be used in conjunction with her promotion for the AMAs.”

Under the order, 1501, 300 and anyone acting “in concert or participation with” them are restricted from “preventing or blocking the use and exploitation” of Megan’s music in promotional content for the AMAs, — including by “threatening or otherwise attempting to intimidate or coerce” third parties not to use it — through Nov. 20. It also sets a hearing on Megan’s restraining order request for Nov. 22.

The restraining order is just the latest volley in a more than two-year-old legal battle that began in 2020 when Megan filed a lawsuit alleging that 1501 founder Carl Crawford tricked her into signing an “unconscionable” record deal in 2018 that was well below industry standards. She claims that upon signing a management deal with Jay-Z‘s Roc Nation the following year, she got “real lawyers” who showed her that the 1501 agreement was “crazy.”

In February, Megan filed a separate lawsuit claiming 1501 had refused to count her 2021 Something for Thee Hotties release as an album — a pivotal definition, as her 1501 deal states that she must produce three albums to fulfill her obligations. 1501 quickly countersued, arguing that Thee Hotties included just 29 minutes of original material and therefore didn’t qualify.

In September, Megan filed yet another lawsuit seeking more than $1 million in damages, claiming that 1501 “systematically failed” to pay her the proper amount of royalties she was owed and had “wrongfully allowed for excessive marketing and promotion charges,” in addition to allegations that the label leaked her most recent album Traumazine. In response, attorneys for the label argued it was actually Megan who had failed to pay 1501 its fair share of money she made from endorsements, partnerships and other business deals, as well as requirements related to publishing royalties. They further added that any claims of underpayment of royalties should be redirected to 300 Entertainment.

Representatives from 1501 and 300 did not immediately respond to Billboard‘s request for comment.

Photo Credit: LiveOne

In late October, LiveOne (NASDAQ: LVO) execs indicated that their company would post record revenue and membership growth for Q3 2022. Now, the Los Angeles-headquartered business has officially unveiled the financials, including all-time-high quarterly revenue of about $23.53 million.

LiveOne, which was ordered to pay $9.8 million to SoundExchange about three weeks back, just recently detailed its Q3 2022 showing (covering the second quarter of its 2023 fiscal year). According to the company’s performance breakdown for the three months ending on September 30th, revenue improved by 7.33 percent year over year to crack the aforementioned $23.53 million.

Meanwhile, amid an across-the-board effort to cut spending, expenses attributable to cost of sales, marketing, product development, and general and administrative categories alike dipped from Q3 2021 and totaled $24.52 million, the document shows. Moreover, LiveOne relayed that its net loss for the third quarter had finished at $3.41 million, about 78 percent less than the net loss reported for the same period in 2021.

(For the six months ending on September 30th, LiveOne identified a net loss of about $2.06 million, or roughly 91 percent less than the corresponding figure for 2021.)

By unit, LiveOne pinpointed $2.43 million in net income for the audio division (including Slacker and PodcastOne) during Q3 2022, up from a $996,000 net loss in Q3 2021, besides adjusted EBITDA of $6.53 million. But further net losses in “other” and corporate, though far smaller than in 2021’s third quarter, nevertheless contributed to the previously noted net loss of $3.41 million.

On the usership side, LiveOne – which has long touted its “nine-year exclusive partnership with Tesla” – communicated that paid members had totaled 1.8 million as of Wednesday, November 9th, for a net increase of 209,000 from June 30th. Additionally, LiveOne stated that it had 800,000 ad-supported users as of the same date, for 2.6 million total users.

Next, higher-ups reiterated that LiveOne had “strategically opted to delay any new live tentpole or pay-per-view events until its fiscal year ending” on March 31st, 2024, instead utilizing “its capital and resources to strengthen its balance sheet, buyback stock and focus on the growth of its profitable businesses.”

Looking forward to 2023, company officials doubled down on plans to file an S-1 to spin off PodcastOne by Thursday, December 15th; the podcast offering is said to have boasted a “U.S. unique monthly audience” that “surpassed 6.7 million in September 2022.”

Plus, CEO Rob Ellin during his business’s earnings call predicted that LiveOne could attract 10 million subscribers and achieve $1 billion in revenue as well as EBITDA of $150 million “within a five-year period.”

Lastly, LiveOne also took the opportunity to announce that its board had expanded an existing stock-buyback program by allocating another $2 million to repurchase common shares before a December 31st, 2023 expiration date. LiveOne stock’s value increased by 4.1 percent during today’s trading hours to finish at 76 cents per share.

Friendly House has zeroed in on a list of honorees for its upcoming awards luncheon.

Set for Saturday at the Beverly Hilton in Beverly Hills, the 32nd annual Friendly House luncheon will honor Oscar-winning music guru Paul Williams (Person of the Year), entertainment attorney Dina LaPolt (Visionary Award), Dancing With the Stars vet Cheryl Burke (Shining Star Award), and Dr. Carolyn Coker Ross (Excellence in Service Award).

The event will also feature a tribute to author and celebrity hairstylist Carrie White, who will have a Friendly House scholarship dedicated in her name. Also on the program: Lisa Loeb and Eve Nelson will perform while Caroline Rhea will serve as host.

Williams is a lyricist and composer who has won an Oscar, multiple Grammys, two Golden Globes and been inducted into the Songwriters Hall of Fame. Williams serves as president and chairman of the board of the American Society of Composers, Authors and Publishers (ASCAP) and has a long list of credits with notable entries that include “We’ve Only Just Begun,” “You and Me Against the World,” “An Old Fashioned Love Song,” “The Rainbow Connection” and the theme from “A Star is Born.”

LaPolt, named one of THR’s top music attorneys earlier this year, is founder and owner of LaPolt Law. Burke is perhaps best known for her turn on Dancing With the Stars. Coker Ross, a graduate of the University of Michigan Medical School, serves as the CEO of the AnchorProgram, a non-diet online program for individuals with binge eating disorder, emotional eating and food addiction.

For 71 years, Friendly House has been on the frontlines by helping women in recovery by providing culturally responsive, attainable treatment regardless of their resources.

Squirming, I agreed to review the new book “Music Mavens: 15 Women of Note in the Industry,” by Ashley Walker and Maureen Charles. I have known one of the co-authors for years, and her late husband, Jon Charles, for even longer. I prayed to Euterpe, music’s muse: “Please, please, please let me like it!” I’m extremely relieved to say, “Like it? I love it!”

I have some music industry bona fides (more like music industry-adjacent), which helps when reading a book about the industry. My first ex-was-band, Larold Rebhun, is a sound engineer and worked at Cherokee Studios in Hollywood, which was a big deal! There, I got to meet Ringo and Harry Nilsson. I was invited to a party with Larold at Steve Cropper’s backyard, where I tackled John Mellencamp to everyone’s amazement — except for my husband’s. I am a singer myself and know my way around a piece of music. Larold once called me at 1:00 a.m. and said, “Can you get down to Cherokee in half an hour and sing backup? One of Nils Lofgren’s backup singers had to bail on the session.” A half-hour later, I was in the studio singing my heart out. Larold and I are good friends to this day, and his 3rd wife is one of my favorite people on the planet.

My current husband, Ken Gruberman, has been a music supervisor, contractor, arranger, and music preparation pro for decades. It would take too much of this column to describe what he does, although he and his teams have won Grammy awards. One of my first dates with Ken was going to the Barbra Streisand scoring stage at Sony/MGM to record the score for HBO’s glorious mini-series “John Adams,” played by a 63-piece orchestra.

The main commonality with both Larold and Ken is the apparent continuing white cis-male domination of the music business. Except for the equity and inclusiveness of the players in studio orchestras, the women are, shall we say, lacking?

This brings me back to “Music Mavens” and why it’s such an essential read for young people. A supposed-Y.A. 10-volume series from Chicago Review Press called “Women of Power,” “Mavens” is the ninth in the series. I say “supposed-Y.A.” because it’s utterly delightful for people of all ages.

Clichéd as it is, I could not put it down, and I highly recommend that young men also read it. To normalize female and non-binary folks in any industry, the white male-identified folks need to envision them there. When they’re missing from the landscape of that industry, more than the M.I.A. folks will notice their absence, and that is how allies are created.

What a difference “Music Mavens” would have made in my life had I read it in my formative years. “If you can see it, you can be it” is not just a platitude. Luckily for us, humanity has people whose imaginations are vivid enough to override the need to see someone exactly like them and say, “I want that. If he can do it, I can do it!” When I first saw BeatBoxing, I thought, “Wow, had I seen that when I was 4, I’d be doing it for sure!” I always loved making unconventional sounds with my voice and throat.

“Music Mavens” is full of women who are trailblazers, women who were encouraged by the dominant demographic to go for it even in the face of some nasty disparagers. The most under-the-radar hostility was hurled at beatboxing champ Kaila Mullady. She won in a field that was not, and still is not, female friendly. When she triumphed, the young man she “beat” came over to her and said, “You only won because you’re a girl.” On the flip side of the coin, Kaila was encouraged and mentored by Kid Lucky, a master beatboxer who was secure enough in his talent that he could be generous to Kaila.

The tome has something for everyone, nationally and globally. If relating to human beings simply because they are human is your jam, this book is full of every career you can think of in the music industry, and then some: engineering, composing, music photography, performers, and more. And, if you’re inspired by someone with a similar cultural background like Vietnamese, non-binary, or Latinx, you are in for a massive treat.

“Music Mavens: 15 Women of Note in the Industry” is being released this week. Go to musicmavensbook.com to sign up for notices of book signings, online events, and maven updates. In the LA area, you can buy it at Vroman’s, our renowned local bookstore, and support a brick-and-mortar business.

Meanwhile, I asked Larold how many female recording engineers he’d met or heard of over the years. He texted that he only knew of three. “Music Mavens” is a tribute to creating possibilities for people. If something seems impossible, we humans just won’t pursue it. Giving “Music Mavens” to your musically inclined young friends as a gift has the potential to change their lives… and yours.

Ellen Snortland has written this column for decades and also teaches creative writing. She can be reached at ellen@beautybitesbeast.com. Her award-winning film “Beauty Bites Beast” is available for download or streaming at vimeo.com/ondemand/beautybitesbeast.

The ongoing legal battle between Megan Thee Stallion and her label 1501 Certified Entertainment has taken another nasty turn around this weekend’s American Music Awards.

According to court documents obtained by Billboard, the “Savage” rapper (born Megan Pete) was granted a restraining order against 1501, along with her distributor 300 Entertainment, after claiming 1501 “unlawfully” took steps “to block or interfere with Pete exploiting, licensing, or publishing her music” in the lead-up to the upcoming AMAs on Sunday (Nov. 20). Filed in Harris County District Court in Texas, the order says Megan “provided evidence” that the company “recently engaged and will continue to engage in threatening and retaliatory behavior that will irreparably harm” her music career.

Without providing further detail on what 1501 or 300 allegedly did, the court notes that it filed an ex parte order — essentially, a type of emergency order granted without waiting for a response from the other side — “because there was not enough time to give notice to Defendants, hold a hearing, and issue a restraining order before the irreparable injury, loss, or damage would occur.” It adds that voting for the AMAs, where Megan is nominated for favorite female hip-hop artist, closes on Monday night (Nov. 14) at midnight, and that Megan “will suffer irreparable harm if her music cannot be used in conjunction with her promotion for the AMAs.”

Under the order, 1501, 300 and anyone acting “in concert or participation with” them are restricted from “preventing or blocking the use and exploitation” of Megan’s music in promotional content for the AMAs, — including by “threatening or otherwise attempting to intimidate or coerce” third parties not to use it — through Nov. 20. It also sets a hearing on Megan’s restraining order request for Nov. 22.

The restraining order is just the latest volley in a more than two-year-old legal battle that began in 2020 when Megan filed a lawsuit alleging that 1501 founder Carl Crawford tricked her into signing an “unconscionable” record deal in 2018 that was well below industry standards. She claims that upon signing a management deal with Jay-Z‘s Roc Nation the following year, she got “real lawyers” who showed her that the 1501 agreement was “crazy.”

In February, Megan filed a separate lawsuit claiming 1501 had refused to count her 2021 Something for Thee Hotties release as an album — a pivotal definition, as her 1501 deal states that she must produce three albums to fulfill her obligations. 1501 quickly countersued, arguing that Thee Hotties included just 29 minutes of original material and therefore didn’t qualify.

In September, Megan filed yet another lawsuit seeking more than $1 million in damages, claiming that 1501 “systematically failed” to pay her the proper amount of royalties she was owed and had “wrongfully allowed for excessive marketing and promotion charges,” in addition to allegations that the label leaked her most recent album Traumazine. In response, attorneys for the label argued it was actually Megan who had failed to pay 1501 its fair share of money she made from endorsements, partnerships and other business deals, as well as requirements related to publishing royalties. They further added that any claims of underpayment of royalties should be redirected to 300 Entertainment.

Representatives from 1501 and 300 did not immediately respond to Billboard‘s request for comment.