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    How Juice WRLD Arrived in Fortnite

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    An avatar for the singing rapper, who died in 2019, appeared at a special event in the video game to debut a new song alongside Eminem, Snoop Dogg and Ice Spice.Carmela Wallace, the mother of Juice WRLD, the Chicago sing-rapper who died five years ago as a rising star at age 21, still sometimes refers to her son in the present tense. Especially when it comes to his love of video games.“He’s always loved video games,” Wallace said in a recent interview. “It was his way of having a moment to himself, where he could escape. Because he dealt with anxiety and depression and stress. You know, he left his mom’s house to become famous.”“So that was his way of just having something normal,” she added. “He had a console wherever he went.”One of his favorites was Fortnite, the immersive adventure-slash-fighting game, with millions of players at a time and, on special occasions, in-game concerts. Those can be big enough to make a real-world splash, like Travis Scott’s animated performance in April 2020, at the height of Covid-19 lockdowns, which drew nearly 28 million players across five showings.Since then, there have been more shows by stars including Metallica, Ariana Grande, J Balvin and Eminem, whose appearance a year ago was such a draw that fans had difficulty logging in. Wallace, who oversees her son’s estate, approved his appearance in Fortnite’s latest musical event, the November-long “Chapter 2 Remix” — a nostalgic throwback to the game’s design circa 2020 — that also included Eminem, Snoop Dogg and Ice Spice, and culminated in a brief but elaborate virtual performance on Saturday afternoon.That event, called “Remix: The Finale,” inside Fortnite’s Battle Royale mode, lasted less than 15 minutes, but by one measurement it surpassed the previous record held by Scott. “Remix: The Finale” drew more than 14 million concurrent players for its first showing, according to Epic Games, the company behind the title, compared with about 12 million for Scott’s debut.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Drake Accuses Universal of Boosting Kendrick Lamar’s ‘Not Like Us’

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      The Canadian rapper filed legal papers on Monday in New York and Texas accusing his record label of promoting “Not Like Us” ahead of Drake’s tracks.Drake’s war of words with Kendrick Lamar, through a vicious back-and-forth of diss tracks, generated some of the biggest headlines in rap this year.And now it has landed in court.On Monday, lawyers for Drake filed legal papers in New York and Texas accusing the Universal Music Group — the giant record company behind both rappers — of operating an elaborate scheme to to promote Lamar’s “Not Like Us” at the expense of Drake’s music, using bots to drive up clicks on streaming services and payola to influence radio stations.In documents filed in New York State Supreme Court in Manhattan on behalf of one of Drake’s companies, Frozen Moments, the rapper’s lawyers said that Universal “launched a campaign to manipulate and saturate the streaming services and airwaves with a song, ‘Not Like Us,’ in order to make that song go viral, including by using ‘bots’ and pay-to-play agreements.”In a separate filing in Bexar County, Texas, lawyers for Drake — this time filing under his real name, Aubrey Drake Graham — said they were considering a defamation claim against Universal over Lamar’s “Not Like Us,” the hit song that represented the climax of Drake and Lamar’s rap war.In that song, Lamar took various swipes at Drake — including calling Drake and his crew “certified pedophiles.” Universal, Drake’s filing said, “could have refused to release or distribute the song or required the offending material to be edited and/or removed,” but chose to put it out instead.“UMG knew that the song itself attacked the character of another one of UMG’s most prominent artists, Drake,” the filing said, “by falsely accusing him of being a sex offender, engaging in pedophilic acts, harboring sex offenders, and committing other criminal sexual acts.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Jean-Philippe Allard, Jazz Producer and Musicians’ Advocate, Dies at 67

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      He called himself a “professional listener,” and he tended to develop lifelong relationships with the artists he worked with.Jean-Philippe Allard, a French record executive and producer who helped revive the careers of jazz greats who had been all but forgotten in the United States, and who earned a reputation for uncommonly fierce advocacy on behalf of musicians, died on May 17 in Paris. He was 67.The music producer Brian Bacchus, a close friend and frequent collaborator, said Mr. Allard died in a hospital from cancer, which had returned after a long remission.Artists ranging from Abbey Lincoln to Juliette Gréco to Kenny Barron all said they had never worked with a more musician-friendly producer.“Regarding my work, I would always consider it as co-producing with the artist,” Mr. Allard told the music journalist Willard Jenkins in an interview in March. “Some producers are musicians or arrangers, like Teo Maceo or Larry Klein; others are engineers; some are professional listeners. I would fall in this last category: listening to the artist before the session, listening to the music during the session, and listening to the mixing engineer.”He tended to develop lifelong relationships with the artists he worked with. “His ear was always open to the artist, and he was always concerned about what was best for the artist,” the vocalist Dee Dee Bridgewater said in an interview. “He saw me. He embraced me. He wasn’t afraid of me. He encouraged my independence. He encouraged me speaking out.”Mr. Allard, right, in the studio with the bassist Charlie Haden, one of the many prominent jazz musicians he worked with.Cheung Ching Ming, via PolyGram/UniversalWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Universal Music Artists Will Return to TikTok

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      The two companies reached a new licensing deal, ending a three-month stalemate that kept some of pop’s biggest stars off the platform.TikTok and Universal Music Group have reached a new licensing deal, ending a three-month stalemate that had blocked songs from some of pop’s biggest stars from the influential social media platform.In a joint announcement early Thursday, the two companies said that they had agreed to a “multi-dimensional” new deal that included “improved remuneration” for Universal’s roster of artists and songwriters, and would address the label’s concerns over the growth of A.I.-generated content on the app.In statements that accompanied the announcement, Shou Chew, the chief executive of TikTok, called music “an integral part of the TikTok ecosystem.” Lucian Grainge, the chief executive of Universal — the world’s biggest music company, with a roster of artists including Taylor Swift, Ariana Grande, Billie Eilish, Drake and U2 — called the deal a “new chapter in our relationship with TikTok” that “focuses on the value of music, the primacy of human artistry and the welfare of the creative community.”In an internal email to Universal employees, a copy of which was seen by The New York Times, Grainge said that under the new agreement, “artist and songwriter compensation will be greater than under our prior TikTok deal.”The agreement ends the music industry’s biggest and most contentious dispute with a tech platform in years. Both companies hurled public accusations at each other, and artists from across the spectrum worried about whether their careers would be hurt by the absence of their music from TikTok, which has become a vital promotional platform and boasts more than 170 million users in the United States alone.But the deal also comes amid wider uncertainty for TikTok as the app faces a possible ban or sale in the United States because of national security concerns over the app’s Chinese owner, ByteDance. Last month, President Biden signed a bill that would allow TikTok to continue to operate in the United States if it was sold in nine months, though the company is expected to challenge the law in court.Universal began to withdraw permission for its music from TikTok on Feb. 1, after an impasse in negotiations to renew its previous licensing agreement. At the time, Universal said that TikTok “attempted to bully us into accepting a deal worth less than the previous deal, far less than fair market value and not reflective of their exponential growth.”Millions of videos that included Universal music — including many artists’ own official music videos — were muted on the platform. TikTok said that by withdrawing its songs, Universal had “put their own greed above the interests of their artists and songwriters.”TikTok and Universal have not commented on their negotiations since then. But the dispute seemed to shift three weeks ago, when Swift — the biggest and most influential artist on Universal’s roster — broke ranks with the label and returned her music to TikTok, ahead of the release of her most recent album.Her move may have weakened Universal’s leverage. But since the ban took effect, fans noticed that songs from many other Universal artists, including Grande and Camila Cabello, had returned, often in sped-up or slowed-down versions that may have been uploaded to the platform by fans.In their announcement, TikTok and Universal did not offer any specifics about the financial terms of their deal. The companies’ statement says they will work together to “realize new monetization opportunities” through e-commerce, and that TikTok will “invest significant resources” in building tools like data analytics and ticketing.The companies added that they were “working expeditiously” to return Universal’s music to the platform. That could take a matter of days or weeks. More

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      Taylor Swift’s Music Returns to TikTok Despite Ongoing Dispute With UMG

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      Songs by the pop singer reappeared on TikTok despite the platform’s ongoing licensing dispute with Universal Music Group, which releases Swift’s music.When Universal Music Group, the world’s biggest music company, went to war with TikTok earlier this year over licensing terms, songs by hundreds of its artists were removed from the platform, and have remained absent.But on Thursday, music by one very special Universal artist returned: Taylor Swift.A number of songs by Swift — whose new album, “The Tortured Poets Department,” comes out next week — have reappeared in TikTok’s official music library, where they are available for the service’s millions of users to place in the background of their own videos. Those videos have become one of the music industry’s most important promotional vehicles, with the potential to mint new hits or breathe new life into old tunes — even as many artists and labels complain about low royalties from the service.The available songs from Swift appear to be from the period since she signed with Universal in 2018, including hits like “Lover,” “Anti-Hero,” “Cruel Summer” and “Cardigan.” Also available are her “Taylor’s version” rerecordings of older hits like “Style,” “Love Story” and “Shake It Off,” which were originally released by her first label, Big Machine. After Big Machine was sold in 2019 without her participation, Swift announced plans to rerecord her first six studio albums, and has already released four of those. Each went straight to No. 1.It was not immediately clear how Swift’s songs made it back to TikTok while Universal’s ban remains in place. When the company announced its plans to remove music earlier this year, it said its licensing contract with TikTok expired Jan. 31. By the early hours of Feb. 1, Universal’s music began to disappear from TikTok, and millions of videos that used the label’s music went silent.While Swift is part of Universal’s roster of artists, she owns the rights to her own recordings, as well as her songwriting rights, which are administered by the Universal Music Publishing Group, a division of the company.Representatives of Swift, Universal and TikTok did not immediately respond to requests for comment.Universal, whose hundreds of artists include stars like Ariana Grande, Drake, Lady Gaga and U2, said it was withdrawing permissions for its music after it was unable to reach a new licensing deal with TikTok. The company accused TikTok of being unwilling to pay “fair value for the music,” despite its importance to the platform. Universal also voiced concerns that TikTok was “allowing the platform to be flooded with A.I.-generated recordings,” diluting the royalty pool for real, human artists.In response, TikTok accused Universal of putting “their own greed above the interests of their artists and songwriters.”The dispute has been one of the most dramatic clashes in years between the music industry and a tech platform, and it has drawn a mixed public response. While many music industry groups have supported Universal, artists have expressed worry about the loss of such a valuable promotional platform. More

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      J. Cole Apologizes for Kendrick Lamar Diss Track

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      J. Cole also vowed to update the track, “7 Minute Drill,” or remove it from streaming services after it was featured on his new album, “Might Delete Later.”The rapper J. Cole apologized on Sunday for releasing a diss track about Kendrick Lamar, saying he felt “terrible” and vowing to update the song or remove it from streaming services.The apology followed an exchange of verses that began in October, when J. Cole and Drake ranked themselves, with Lamar, as the “big three” in hip-hop in the song “First Person Shooter.” In March, Lamar dismissed that comparison in a guest verse on the song “Like That” by Future and Metro Boomin, rapping that there was no big three, “it’s just big me.”In response, J. Cole on Friday released the diss track “7 Minute Drill” on his surprise new album, “Might Delete Later.” It includes the lines: “I got a phone call, they say that somebody dissing / You want some attention, it come with extensions / He still doing shows but fell off like ‘The Simpsons.’”Two days after the song was released, J. Cole apologized for it while onstage at his Dreamville Festival in Raleigh, N.C., according to videos posted on social media. During his headlining performance, he said that when he saw the response to the song after it came out, it didn’t “sit right with my spirit,” and that he was speaking about it at the concert to end the beef.He also called Lamar one of the “greatest” to ever use a microphone and said he hoped Lamar would forgive him.“The past two days felt terrible,” J. Cole said. “It let me know how good I’ve been sleeping for the past 10 years.”As of early afternoon on Monday, “7 Minute Drill” was still available on major streaming services.J. Cole released “Might Delete Later” on his Dreamville Records label, an imprint of Interscope Records, which is owned by Universal Music Group. Universal did not immediately respond to a request for comment.Lamar does not appear to have addressed the track or the apology publicly. Representatives for Lamar did not immediately respond to a request for comment.Drake seemed to respond to Lamar’s verse at a concert in Sunrise, Fla., in late March, according to Complex. He told the crowd that people had been asking him how he was feeling and that he had his “head up high,” and felt as if no one could mess with him.Lamar, Drake and J. Cole have worked together in the past and have individually received numerous awards for their music, including multiple Grammy Awards and nominations. In 2018, Lamar received the Pulitzer Prize in music for his album “DAMN.” More

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      Yvonne Loriod Was So Much More Than a Composer’s Muse

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      Loriod, the vessel for Olivier Messiaen’s piano works, had a rich musical life beyond him, which is captured in a new set of recordings.The composer Olivier Messiaen’s earliest students at the Paris Conservatory liked to call themselves the Arrows. They didn’t see themselves as mere pupils; with the help of their teacher, one of the most important voices in 20th-century French music, they imagined themselves shooting arrows into the future.They weren’t just dreaming. Messiaen’s first batch of students, in the 1940s, included Pierre Boulez, who would become the de facto face of French serialism and modernist thought. Their teacher, though, was partial to another musician in the class: a young pianist named Yvonne Loriod.Born 100 years ago and a prodigious keyboard talent from an early age, Loriod so impressed Messiaen that he quickly began to write for her, immense masterpieces like “Vingt Regards sur l’Enfant-Jésus” and “Catalogue d’Oiseaux.” She challenged him to push the piano to new limits; he in turn gave her more to chew on than the standard repertoire with which she had built her reputation. They elevated each other, creating what The New York Times would eventually describe as a composer-performer partnership likely without parallel in music history.“It’s obvious that while writing ‘Vingt Regards’ or ‘Catalogue d’Oiseaux’ I knew they would be played by Yvonne Loriod,” Messiaen said in a book of interviews with Claude Samuel. “I was therefore able to allow myself the greatest eccentricities because to her, anything is possible. I knew I could invent very difficult, very extraordinary, and very new things: They would be played, and played well.”Their relationship was formalized by marriage in 1961, and it was so fruitful that it’s hard to imagine 20th-century piano music without those solo works or the extravagant, orchestral “Turangalîla-Symphonie.” But their collaborations also tend to overshadow Loriod’s life before and beyond Messiaen. Her devotion to him required renunciation: She let go of her composing ambitions and gave over the majority of her schedule to performing his scores. Yet she remained a brilliant artist with a broad-minded, generous view of her instrument and its long history.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      After UMG Pulls Its Music, TikTok Users Encounter Silence

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      Content creators say they are considering the merits of Instagram and YouTube after a licensing battle led TikTok to pull songs by artists with Universal Music Group.When TikTok users open the app these days, they encounter a platform stripped of music by many of their favorite artists. Dancers bob and sway without a beat drop. People lip-sync to silence.Because of a licensing rift between the platform and Universal Music Group, which releases music by Playboi Carti, Taylor Swift, Drake, Ariana Grande and others, TikTok confirmed on Thursday that it had deleted music by Universal artists from its library and muted previously published videos that used those songs.Music from artists affiliated with Sony and Warner remains available on TikTok. But that did not stop some users from declaring they were departing to a rival platform, Instagram Reels, while others have made fun of Universal’s absence by dancing to songs in the public domain. The dominant feeling is frustration: What was the point of TikTok without one’s favorite melodies?“A lot of trends that have gone viral are of people who have millions of views on a single video because of an audio,” said Myah Elliott, 22, who pointed out that the TikTok logo looks like a musical note. “It’s going to be muted. That’s a scary thought.”For more than two years, 21-year-old Evan Cronin posted videos on the first of each month that show him going through a morning routine, garnering millions of views. Around midnight on Thursday, he published the latest in the series to the beat of Playboi Carti’s “Sky.”This time, there were barely any interactions from viewers.“It was essentially a dead post,” Cronin said.After TikTok removed Universal’s music, those who use the app to listen to their favorite songs or discover new artists expressed disappointment. Others publicly shared concern about the detrimental effect on emerging Universal artists who rely on TikTok for publicity.Shawn Desman, a Canadian artist, explained to his followers why his videos had been muted and bemoaned that he no longer had the ability to share his music through TikTok.“It is such an important tool for us to promote ourselves, our music, our creations,” Desman said in the video. “It’s just really crazy to me that now we’re not going to be able to use our music.”The sudden silencing of Universal’s music catalog also left TikTok’s content creators worried and exasperated. John Casterline, who has 3.5 million TikTok followers, said that at least 10 percent of his videos had been muted, resulting in a steep drop-off in views. He has contemplated pivoting to YouTube.“The minute TikTok mutes a video, they’re obviously not going to push it out to the ‘For You’ page,” said Casterline, 20, referencing the app’s algorithm-based recommendation feed. “Everything completely halts. So it’s definitely made my account take a massive hit.” More

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      Universal Music Group Threatens to Remove Music From TikTok

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      The company has been renegotiating the contract that licenses its vast catalog of songs to the social media platform. The agreement expires on Wednesday.Universal Music Group, the world’s largest music company, said it would revoke the licenses for its vast catalog of songs from TikTok after its current contract expires on Wednesday if the two companies could not reach a new deal addressing Universal’s concerns over artist compensation, artificial intelligence and other issues.In an open letter posted late Tuesday, Universal accused TikTok of responding to its requests with “indifference, and then with intimidation,” creating a public squabble in the remaining hours of the two companies’ existing contract. If the talks fail, TikTok users would be unable to use music by Taylor Swift, Lady Gaga, U2, Bad Bunny and thousands of other artists in their videos.TikTok, owned by the Chinese company ByteDance, is one of the world’s most popular and fastest-growing social media platforms, with more than a billion users, and its influence on youth culture around the world is unmatched. The company says it is used by more than 150 million Americans. For a majority of TikTok users, music is an integral part of the experience, with songs — often comically sped up — playing over the short clips that fill users’ feeds.In its public letter, Universal said that during negotiations it asked TikTok to address its concerns over three issues: compensation for artists and songwriters, online safety for TikTok’s users and “protecting human artists from the harmful effects of A.I.” Universal accused TikTok of allowing the platform to be “flooded” with songs created by artificial intelligence, which Universal said dilutes royalties for real, human artists and amounts to “sponsoring artist replacement by A.I.”In response, TikTok accused Universal of putting “their own greed above the interests of their artists and songwriters.”“Despite Universal’s false narrative and rhetoric, the fact is they have chosen to walk away from the powerful support of a platform with well over a billion users that serves as a free promotional and discovery vehicle for their talent,” TikTok said in a statement.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber?  More