USC Events confirmed via social media on Monday, February 10, that the 2020 edition of their St. Patrick’s Day-themed Lucky Festival had been officially cancelled, with refunds being issued to buyers. The decision to pull the event follows a fallout between the Seattle-based promoter and their former partner Insomniac Events, which culminated in a lawsuit at the start of the year.
Troubles between the two companies began shortly after the annual weekender at the Gorge, Paradiso. Staff at the festival began publicly complaining of not being paid for their labor, which led to court action from Insomniac for Breach of Contract. It was eventually revealed that, in addition to giving USC Events $2 million that went unaccounted for, Insomniac ended having to pay out $215,055 to Paradigm and $638,650 to UTA for the talent booked at the festival. Insomniac also covered missing payments to vendors.
As a result, Paradiso looks to be coming to an end, with Insomniac pressing in their suit to ban USC Event’s involvement in the festival and additionally expressing interest in hosting a brand new event at the Gorge in its place. The added court costs appear to be causing a ripple effect now, with the added cancellation of Lucky. Word remains as to whether or not USC will be able to recover from the scandal.
Carolyn Cox, a senior scientist at the Center for Environmental Health (CEH), told the TDT that the CEH that their measurements showed benzene levels above state standards in 2018. The benzene was introduced to the crowd via the diesel-powered energy generators used at the event. Benzene is a known carcinogen. Additionally, it poses a severe risk towards reproductive health.
“We were really focusing on the reproductive harm because the typical audience at a music festival is younger people, so there are a lot of young women that either could be pregnant or want to get pregnant so we’re concerned about protecting those people,” Cox told the Tahoe Daily Tribune.
Former manager of South Lake Tahoe Frank Rush told the TDT that he believes SnowGlobe acted under federal compliance for their 2019 event, and the lawsuit shouldn’t jeopardize SnowGlobe’s future with the city.
Miley Cyrus has reportedly settled the $300 million copyright infringement lawsuit over her 2013 smash single, “We Can’t Stop.” Jamaican songwriter, Michael May, known by his stage name Flourgon, opened the lawsuit against Cyrus in March 2018 on the grounds that Cyrus’ song too closely resembled his 1988 song, “We Run Things.” May also sued Cyrus’ manager, Larry Rudolph, the writers and producers of “We Can’t Stop,” her label, RCA Records, and the subsidiary’s owner, Sony Music.
May’s allegations were primarily motivated by the lyrical similarity of “We Can’t Stop’s” line, “We run things/Things don’t run we,” to May’s “We run things/Things no run we.” “We Don’t Stop,” May asserted, was heavily influenced by “We Run Things.”
May, Cyrus, Sony, and other defendants, including a production team that involved producer, Mike Will Made It, moved to dismiss the lawsuit with prejudice in Manhattan federal court on January 3. A dismissal with prejudice signifies that the ruling court has made a final decision on the merits of the case and consequently prevents the plaintiff from filing another lawsuit on the same grounds in the future. In a December 12 letter, Cyrus’ legal team announced that a settlement agreement had been reached and would be filed “pending payment of the settlement proceeds,” but did not disclose the settlement terms.
Since 1990, the quite literally scorchingBurning Man festival has drawn droves to the deserts of Nevada to celebrate the best of music, art, and the spirit of legendary event. The festival has historically hosted on public grounds, renting space from the government. Now, Black Rock City LLC (the company behind Burning Man) is suing the Bureau of Land Management for raises in fees and “inflated and unnecessary costs on [Black Rock City] without providing adequate justification.”
According to The Hill, the BLM’s overcharging has been an issue for four years and the lawsuit is Black Rock City’s “attempt to break the cycle.” However, despite the recent suit, the event brand has filed a total of six separate appeals in attempt to overturn the average $3 million annual cost it pays towards securing Burning Man festival grounds, as well as the BLM’s aggressively increasing fee for providing law enforcement and general oversight of the land. In 2012 BRC paid the BLM $1.4 million in total expenses. The following year the fee increased to $2.9 million with only a 4% increase in Burning Man attendees.
In a public complaint regarding the lawsuit, BRC writes that the BLM and interior department are guilty of “ongoing, unlawful, and prejudicial conduct … that threatens the viability of the iconic Burning Man Event.” The complaint also states that Burning Man has paid nearly $21 million since only 2015 to use the land required for the festival.
Burning Man 2020 begins in August with the theme of multiverse.
There’s a reason we’re starting to see artists shift away from major label endorsements. The story of artists getting the short end of the stick and a label lining their pockets isn’t a new one. It’s not easy to imagine that the younger the artist, the easier it is to lock in a label-favoring contract, which is exactly what Martin Garrix sued Spinnin’ Records and his former management for back in 2015. The hit producer won back the rights to his music in 2017, namely the inescapable “Animals” that made him a star. Though now, the Higher Court of Leeuwarden has overturned the 2017 ruling against MusicAllStars and Spinnin‘, meaning Garrix could be on the hook for revenue lost by the label during the period he owned the masters.
In 2017, the court ruled that Eelko van Kooten had a conflicting interest in Garrix, being both director of MAS Management and Spinnin’ concurrently. The new ruling states that both management and label acted within the boundaries of the law, and Garrix was not adequately proven to have been coerced into signing his first contract. It remains to be seen what costs Garrix will incur as a result of the overturned appeal.
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.
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.
Ja Rule‘s name is officially cleared in the $100 million Fyre Festival lawsuit. Multiple reports confirm that the rapper will not face charges in the messy fallout from the failed festival.
The judge overseeing the case dropped Ja Rule’s name from the lawsuit because he was believed to not be unaware of the major details that led to Fyre Fest’s demise.
In a recent interview on the Wendy Williams Show, the embattled rapped admitted that he is interested in throwing another event of similar nature, with the right partners of course. He also expressed his frustration with the way he was initially implicated in the fallout, saying, “If it had went off without a hitch, everybody would have said, ‘Oh, look at this great thing that they did.’ Not, ‘Ja Rule thought of it, came to them with the great idea, and they funded it.’ … As soon as it blow up, ‘Look what Ja Rule did.’ How does that work?”
While Ja Rule walks free, Fyre’s mastermind Billy McFarland is serving six years in prison for fraud charges.
Veteran electronic producer ARTY is suing Marshmello, claiming one of the masked producer’s biggest hits, the Bastille-assisted “Happier,” is actually plagiarized. The terms of the suit claim that Marshmello and Bastille used remixed elements of ARTY’s 2014 remix of “I Lived” by OneRepublic.
This particular lawsuit is unique, in that the legal dispute is mainly anchored to the song’s beat and other components, as opposed to the underlying composition. While ARTY’s remix was an undoubted success in 2014, “Happier” managed to claim the top spot on the dance music charts for 31 consecutive weeks in 2018, and grab a double-platinum certification as a result.
News has broken that Russian producer, ARTY has officially filed a lawsuit for copyright infringement against Marshmello. The suit stems from the similarities in melodies on ARTY’s official remix for One Republic’s massive hit, ‘I Lived’ and Marshmello’s chart-topping hit with Bastille ‘Happier.’ The Tennessean broke the story, after confirming it with ARTY’s Nashville based