TikTok’s popularity continues to soar, with recent numbers indicating over 110 million app downloads in the US alone. But legal troubles for the video sharing social network continue to mount. This week TikTok’s parent company ByteDance agreed to a settlement of 1.1 million dollars after it was alleged to have mishandled the personal data of its minor users. The million-dollar settlement comes just one day after the lawsuit was filed.
According to the complaint, which was filed in the US District Court for the Northern District of Illinois, TikTok, “in a quest to generate profits, surreptitiously tracked, collected, and disclosed the personally identifiable information and/or viewing data of children under the age of 13— without parental consent.”
In addition to the questionable, if not downright illegal
handling of the personal data of minors, the lawsuit alleges that “because the
App had virtually all privacy features disabled by default, there were serious
ramifications, including reports of adults trying to contact minor children via
Although a settlement in the millions sounds like big bucks, it’s worth noting that valuations for TikTok regularly breach the 10-billion-dollar mark, leaving many wondering if this is anything more than a slap on the wrist for the China-based app.
TikTok’s recent settlement may be their latest, but it’s far from their greatest, as the company paid out a total of 5.7 million dollars after allegedly violating the Children’s Online Privacy Protection Act (COPPA) in February of this year.
The Friends Arena in Stockholm, Sweden was filled to the brim on the evening of Dec. 5 as fans, friends, and fellow musicians celebrated the life of Avicii. Avicii’s death shocked the world last year, and sparked an important conversation about the significance of mental health and the dangers that come with a heavy touring schedule in the music industry.
The concert opened with an emotional performance from “Without You” collaborator Sandro Cavazzo. The lyrics from this song, “I’ve gotta learn how to love without you” have become a eulogy for the talented musician. The tribute progressed with a healthy balance of both celebration and commemoration, led by friends of Avicii such as Adam Lambert, Michelle Gonzalez, Kygo, Dimitri Vegas, Aloe Blacc, and more.
The pinnacle of the powerful night was a gorgeous 30-piece orchestral performance of “Lonely Together” that Avicii’s father said was one of his son’s biggest dreams. Backed by beautiful lights and roaring pyrotechnics, the performance truly encapsulated the loving spirit of Avicii that touched so many.
The event was put on by the Tim Bergling Foundation, created posthumously to advocate for mental health awareness internationally in honor of Avicii’s passing.
To learn more and to donate, visit their website here.
In the short amount of time that Las Vegas club KAOS spent operating, its run was mired by exuberant costs and rumors of artists pulling out of their residencies. Now, KAOS will face a legal battle with Kaskade for breach of contract on the grounds of cancelling his shows in light of the club’s closure.
In the lawsuit, Ryan Raddon (better known as Kaskade) reportedly entered in a two-year agreement with FP Holdings, the company behind Palms Casino Resort and KAOS, for a 60-show deal. The superstar DJ alleges he was not informed of KAOS’ impending closing at the time of his show cancellations. He fulfilled 20 of the 60 shows before the club canceled the remainder—only compensating Raddon for the three shows slated to take place in October.
“As a result, FP is unable to provide Raddon with a suitable venue for either the remaining performances to be held in 2019 or the performances in 2020, which further breach of the agreement,” the lawsuit states.
KAOS debuted in the beginning of the year as the crown jewel of Palms Casino Resort. The day and nightclub boasted both Vegas’ largest outward-facing LED screen and artist residencies from Skrillex, Cardi B, Above & Beyond, and more before suddenly folding after seven months. A class action suit was also filed two days after KAOS’ closure on behalf of the club’s workers.
EPROM newest five-track project, AIKON, was released through Zeds Dead‘s Deadbeats imprint. The talented producer and contributor to the Grammy-nominated Hi, This Is Flume (Mixtape) took time to answer some questions with technical leanings about his extended play. The Portland-based sound curator established himself as an innovator amongst fellow artists and fans alike, through wicked syncopation and tedious sound design that curate an environment of shock and awe.
In a press release about the EP, EPROM explained, “Each tune represents a unique point in my trajectory. For me, this release represents a step onto a bigger stage. I have always been reluctant to fully embrace the ethos of dance music, so I have previously kept my work underground, and to a certain degree, intentionally inaccessible. This EP is my take on pure rave music.”
Why did you call the EP AIKON?
I don’t wanna give too much away. If you look closely at the logotype you can certainly figure out where it came from. There are multiple facets of meaning in this made up word that interest me, secondary signifiers tangential to the source. I pronounce the word “icon,” so if you take that at face value combined with the aesthetic dimensions of the project, it may open the word up to further investigation. The word came about way before the EP. If you dig into the visual minutiae of my previous projects you may notice it crops up here and there.
Can you explain the album art?
As with the title, the art is an oblique commentary on fractured identity in our age. I prefer to leave it up to personal interpretation beyond that. You will notice that each of the singles has similar but slightly different art. Each uses the same technique and so they are all intended to function together as a larger work.
Do you have a typical production process? If so, what is it?
I try very hard not to have a “typical” process, although I do use a studio template in Ableton Live. I try to reinvent my approach to making a tune for nearly every tune, and often, that necessitates exploring a new tool. New tools require new approaches. New approaches create new sounds. The moment of unfamiliarity, before one becomes virtuosic in any particular field, engenders creative approaches, learning, and play. That is the most valuable period of music making for my practice. When you don’t quite know how a particular tool works, you approach it creatively, and that is the essence of experimentation for me.
What was your main takeaway from collaborating with G Jones on “Daemon Veil?“
Greg is a brilliant songwriter beyond being a producer, and he fleshed out the arrangement beautifully, handling a lot of the melodies on that song. I think our studio sessions are highly symbiotic and we trade a lot of techniques back and forth.
Your arrangements are unique, is there a special way you approach arranging the different parts of your songs?
I like to take agreed-upon forms like trap/house/bass with fairly rigid structures and attempt to approach them differently. I think in general my arrangements aren’t that out there, I usually stick to four bar structures and standard 4/4 time signatures, maybe with an occasional polymetric loop underneath or alternating between a standard dance tempo and half time.
What was a go-to synth for the EP and why?
I used a lot of samples on this EP. They’re faster to work with and I wanted to evoke a specific period of rave music, so those samples – e.g. old school rave stabs, 303s etc. – have a very concrete meaning to me. I also used eurorack modular synthesis to generate a lot of the kick drums and bass samples, and further processed material using Granulator II and other granular resynthesis algorithms.
What was a go-to MIDI controller and why?
I like the Arturia Keystep, it’s small and fit on my desk behind my computer keyboard and has a cool sequencer and it’s enough for me to bang out quick ideas. I’m not much of a keys player though so I do a lot of melodic sequencing on the piano roll in Ableton.
Any special VST that really took the production home?
Every track has some Valhalla Vintage Verb on it, as well as FabFilter Saturn and Monolake’s Granulator II Max4Live patch.
Do you have any pet peeves between you and your DAW?
Sure, plenty. They are small problems though, mostly having to do with how Live handles regions containing un-warped audio clips, which I use all the time. Some other things I wish Live had would be better multi-track automation handling, and per note automation (polyphonic aftertouch). But there are always ways around every problem. I love working in Live for the most part.
Which song took the longest work and why?
“Daemon Veil.” You can imagine how long it took us to program all the drums and percussive elements in that song. There are many tracks, several different drum kits, and a lot of sound design elements. We spent a lot of time playing with the balance between discernible rhythms and chaos.
What was the most difficult sound to conquer on the project?
The vocals on “Hope” are probably the element that took the most finessing. Because of licensing issues we ended up having to re-record the vocals from an old house tune with a new vocalist. I am pretty inexperienced with using raw vocals, so I had to learn a few things about vocal processing. I took the new recordings and tried to match the sound of the original 1995 acapella as closely as possible, using tape emulation, delay, reverb, eq, distortion, noise layers, etc. I feel like I actually got really close in the end. It was difficult, but a fun exercise.
Do you have any unique studio habits?
I tend to spend a lot of time on pure sound design, that is, not with any specific song-related goal in mind. I’ll sit down if I’m not feeling like making a song and knock out ten or twenty different kick drums or snares.
What was your most memorable in-studio moment while producing the album?
Working on “Hope” last summer with the window open, looping part of it to get some bass groove right, and my girlfriend asked me if I was making a house tune because the loop was of a 4/4 section in a much longer and more choppy tune. I just thought that was funny.
What is next for EPROM?
Working on the next release, can’t say too much about it yet because it’s still a nebulous thing in my mind.
The namesake for Com Truise‘s latest album made its debut in April of 2019 on Ghostly International. The dreamy, synth-filled “Persuasion System” paved the way for the dynamic nine-track LP that would follow a month after and caught the attention of Com Truise fans and beyond.
To cap off the year, “Persuasion System” has received a two-track rework treatment from Russian producer Anastasia Kristensen. She’s concocted a six-minute initial remix of the track and a four-minute “ambient rework” to give fans a chance to digest the iconic song in new ways. The former is a slowed-down, tech-heavy take on Com Truise’s original, giving the song a darker, more industrial tone. Her “ambient rework” is a minimalist deconstruction of “Persuasion System,” leading listeners down a eerier, introspective path.
“When I’ve heard ‘Persuasion System’ first time I – couldn’t help, but ask to make a remix,” Kristensen said in a Facebook post. “So glad we made this work.”
Linda Ronstadt is among the recipients of this year’s Kennedy Center Honors for a lifetime achievements in the arts. The award will be formally given out at a ceremony tonight (12/8) — the ceremony will air on CBS next week (12/15) — but last night during a smaller dinner given by the State … More »
Shocking news. Juice WRLD is reported dead at 21. From TMZ:
Juice Wrld, the talented young rapper and singer whose career was just taking off, is dead after suffering a seizure in Chicago’s Midway airport … TMZ has learned.
Juice’s flight from California landed early Sunday morning and, after deplaning … witnesses tell us he suffered the seizure while walking through the airport. Law enforcement sources say he was bleeding from the mouth when paramedics got on scene.
We’re told Juice — real name Jarad Anthony Higgins — was still conscious when he was rushed to a hospital. However, he was pronounced dead a short time later at the hospital. The cause of death is unclear at this time. […]
“Lucid Dreams” artist Juice WRLD, real name Jarad Anthony Higgins, was pronounced dead Sunday morning December 8, following a seizure in Chicago Midway Airport shortly after getting off a private jet. The cause of death is currently understood to be the result of a seizure, though the cause of the seizure is not entirely known yet.
Juice WRLD experienced a meteoric rise to fame behind the success of his debut studio LP Goodbye and Good Riddance. The record featured the breakout single “Lucid Dreams” would peak at No. 2 on the Billboard chart in 2018. Earlier this year in March, his follow-up sophomore LP, Death Race for Love, would go on to debut on the chart’s top spot. Remarkably, in just the two short years since his emergence, Juice WRLD landed a staggering 25 songs on the Hot 100.