ReportWire

Tag: Musicians

  • Detroit backs federal push to boost musicians’ pay on streaming platforms – Detroit Metro Times

    The Detroit City Council on Tuesday unanimously approved a resolution supporting the Living Wage for Musicians Act, a federal proposal introduced by U.S. Rep. Rashida Tlaib, a Detroit Democrat, to overhaul the way artists are paid for digital streams.

    Detroit is the latest major city to formally endorse the legislation. In May, New York City passed a similar resolution.

    Today, streaming accounts for roughly 84% of all recorded music revenue in the U.S., but artists often earn just fractions of a cent per play, sometimes as little as $0.003 per stream. At that rate, a musician needs more than 800,000 monthly streams to earn the equivalent of a full-time, $15-an-hour job, according to Detroit’s resolution.

    Supporters urged the council to join the push for higher streaming royalties, pointing to Detroit’s major influence on music. 

    Marcus Miller, co-founder of the Creative Union, a group that supports artists, innovators, and entrepreneurs, told council members that the legislation could help Detroit’s creative workforce stay in the city.

    “With bills like this, we have the opportunity to keep our talent here for the future and actually make a change, so I’m just inspired,” Miller said. “We honestly can do anything. It’s the most important thing in the world that with every step forward, we make every step together because that’s the only way we’re going to make a difference — through our voice, our shared efforts, through knowing that the only real change comes from the people, for the people, and by the people. And we will see this through.”

    Adrian Tonon, co-founder of the Creative Union and Detroit’s former 24-hour economy ambassador, says artists and organizers plan to travel to Washington, D.C., to advocate for the bill.

    Tlaib reintroduced the legislation in September with support from working musicians and the United Musicians and Allied Workers union. The bill would create a new royalty stream paid directly to artists, separate from the industry’s existing pro-rata system that often funnels most streaming revenue to the biggest acts and major labels.

    Under the proposal, a small surcharge would be added to streaming subscriptions — capped between $4 and $10 — and platforms would contribute a share of their advertising revenue. The money would go into a nonprofit Artist Compensation Royalty Fund, which would distribute payments directly to recording musicians. The fund would also include a monthly cap per track so that artists with massive hits don’t absorb a disproportionate share of the payouts.

    Tlaib has said the goal is to ensure that musicians who drive the streaming economy can afford to build sustainable careers.

    “It’s only right that the people who create the music we love are paid a living wage, so that they can thrive, not just survive,” she said when announcing the bill’s reintroduction last year.

    Artists, including Detroit producer and WDET host Shigeto, have backed the plan, calling it a long-overdue correction to a system that has left many musicians struggling as streaming platforms report record profits.

    Advocates say the bill would allow more artists to record, tour, and make themselves available to fans, while helping musicians make a living in cities like Detroit. 


    Steve Neavling

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  • Inside Rosalía’s Secret ‘Lux’ Listening Session

    Fellow pop star Dua Lipa and her fiancé, actor Callum Turner, were in attendance in the VIP section, with the “Physical” singer wearing a floor length snake print coat and the actor in a black leather shearling jacket. Other artists including Emily Ratajkowski, playwright Jeremy O. Harris, and photographer Tyler Mitchell were also present to experience Rosalía’s highly anticipated new body of work.

    Around 7:30 p.m., fans were ushered from the cocktail hour to their seats, on white benches in front of a massive white sheet. All recording devices including phones were confiscated and placed in Yondr pouches, so the attendees could be fully present when the album began. “When was the last time you were in complete darkness,” read text projected onto the sheet before the album listening began. “Sometimes being in complete darkness is the best way to find the light.”

    Dua Lipa and Callum Turner

    Bryan Bedder/Getty Images

    And with that, the Lux listening commenced, with the hundred or so attendees sitting in silence as Rosalia’s powerful voice enveloped the space, with the lyrics of the Lux album projected at the head of the room. The orchestral, genre-bending album finds Rosalía singing in 13 different languages over 18 tracks, from her native Spanish to English, as well as Catalan, Hebrew, Mandarin, Italian, Arabic, Latin, and more.

    “Berghain,” Rosalía’s lead single in which she sings in German, features Bjork and Yves Tumor, and received a roar from the audience. The spicy, anti-fuck boy anthem “La Perla” also got the audience going with its incessant jabs at a former lover. “The local disappointment /National heartbreaker /An emotional terrorist /The biggest global disaster,” she sings of her ex.

    Chris Murphy

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  • Screening at NYFF: Scott Cooper’s ‘Springsteen: Deliver Me From Nowhere’

    Jeremy Allen White as Bruce Springsteen. Photo courtesy of 20th Century Studios. © 2025 20th Century Studios. All Rights Reserved.

    The first and final scenes of any film are vital, and contained within these bookends you can find the entire story of Springsteen: Deliver Me From Nowhere. Unfortunately, nearly everything in between is standard biopic filler and reinforces filmmaker Scott Cooper’s unique position in the Hollywood landscape: he’s a tremendous director of actors and quite unremarkable at most other parts of the job.

    Based on Warren Zanes’ Bruce Springsteen biography of the same name, the film (which Cooper both directed and wrote) tells the story of how the famed heartland rocker created Nebraska—perhaps his most time-tested album—but it seldom has anything to say beyond observing his emotional troubles during this period, often at great dramatic distance. Despite this contained focus on a one-year period, Deliver Me From Nowhere is very much a decades-spanning saga in the tale of most by-the-numbers “true stories” about revered figures and begins with a monochrome depiction of a young Springsteen (Matthew Pellicano Jr.) listening to his father (Stephen Graham) abuse his mother (Gaby Hoffmann) in the next room. A hard cut from his haunted expression to the adult Springsteen (Jeremy Allen White) delivering a full-throated, thoroughly embodied performance of “Born to Run” in 1981 creates a strange but appropriate thematic link between these childhood events and Springsteen’s ’70s mega-hit. Regardless of what the song was actually about (in short: a girl), its lyrics become an obvious cipher here for a man escaping his past at lightspeed. If only the rest of the film had maintained this momentum.

    As mentioned, Deliver Me From Nowhere does in fact conclude with a touching gesture toward catharsis, so in theory one could string these brief opening and closing acts together to create a much more impactful short film without losing very much by way of story. However, viewers then wouldn’t be treated to the real delights of a Scott Cooper joint: broad caricatures who become imbued with beating humanity in a way so few American filmmakers tend to manage. As Springsteen begins work on his next album, he sees the process as a long-overdue exorcism of personal demons, while his record executives et al. want more hits for the radio. The Boss, however, is largely shielded from these demands, leaving his manager and producer Jon Landau (Jeremy Strong) to advocate on his behalf.

    This side of things—the logistics of creating the next big hit or cultural phenomenon—features little by way of discernible drama despite the many arguments that play out in the confines of various offices. And yet it can be intriguing to watch in its own way, as Landau becomes the de facto point-of-view character for lengthy stretches, talking up Springsteen’s genius to anyone who’ll listen (including and especially David Krumholtz’s Columbia record exec) while barely giving any pushback to the artist himself. There’s a sense of inevitability to Nebraska coming into being (and the iconic Born in the U.S.A. after it, which used many of his original concepts for the former). On one hand, this rarely affords the movie any meaningful stakes. On the other, it allows Strong to create a cautiously eager version of Landau who practically bleeds adoration for Springsteen. Similarly, Paul Walter Hauser plays an eager recording engineer who goes along with Springsteen’s intentionally lo-fi plans for Nebraska, while Marc Maron plays a mostly silent studio mixer who, despite a few incredulous reactions, largely goes along with things. After all, who is he, and who are any of them, to question the Boss?

    A man with curly hair and a sweat-soaked shirt sings passionately into a microphone on stage, one arm raised in the air under bright concert lights.A man with curly hair and a sweat-soaked shirt sings passionately into a microphone on stage, one arm raised in the air under bright concert lights.
    White’s conception of Springsteen is joyful to witness. Photo courtesy of 20th Century Studios. © 2025 20th Century Studios. All Rights Reserved.

    This kind of idolatry is usually the raison d’être for jukebox “IP” biopics like Deliver Me From Nowhere, and there’s a refreshing honesty to the hagiography refracted in Strong’s doting gaze. Granted, the film is prevented from veering into full-on Boss propaganda by the personal half of the story, in which he enters a romance with radiant single mother Faye Romano (Odessa Young), a relationship that feels doomed by the very same inevitability that colors the movie’s making-of-Nebraska half. He offers her, up front, a premonition of what will inevitably happen—that he won’t be able to commit himself to loving her so long as this album and its ghosts hang around his neck—but with the movie’s parameters all clearly established, in the studio and behind closed doors, there remains little reason to watch it beyond its performances. Springsteen will prioritize his work, people will laud his musical talent and he will eventually confront the wounds of his past, but none of these are framed as part of a story where Springsteen’s or anyone’s human impulses threaten to derail the inevitable for even a moment.

    White’s conception of Springsteen is joyful to witness, not just for the way he impersonates the Boss’s gravelly voice and vein-popping performances but for the way he conjures Springsteen’s spirit through exaggeration. He crafts a sense of mood (and moodiness) where the film might not otherwise contain it, brooding to the extreme and sitting in Jersey and New York diner booths hunched over to the side, leaning so far that he threatens to keel over. He doesn’t so much play Springsteen as he does an imaginary, effortlessly cool, deeply tormented version that James Dean might have portrayed, and Deliver Me From Nowhere is slightly better for it. In tandem with Masanobu Takayanagi’s cinematography, which subtly silhouettes the superstar and turns him into an icon even in mundane settings, the film has tremendous physical architecture even if its emotional architecture is practically null.

    SPRINGSTEEN: DELIVER ME FROM NOWHERE ★★ (2/4 stars)
    Directed by: Scott Cooper
    Written by: Scott Cooper
    Starring: Jeremy Allen White, Jeremy Strong, Paul Walter Hauser, Stephen Graham, Odessa Young, David Krumholtz, Gaby Hoffmann, Harrison Sloan Gilbertson, Grace Gummer, Marc Maron, Matthew Pellicano Jr.
    Running time: 114 mins.

    Clichés abound in the form of flowery dialogue, but the kind that, when imbued with enough cinematic gusto—Springsteen speaks of “finding silence amongst the noise”—can transcend their trappings and become jubilant. Unfortunately, here they end up as overwritten pablum that struggles to convey meaning.

    There are movie references aplenty, from Springsteen discovering dark subject matter through a Terrence Malick film and flashbacks of him enjoying Charles Laughton’s sumptuous The Night of the Hunter with his father. But these only serve as mood boards, presented as-is when Springsteen watches them, rather than becoming stylistic or thematic influences for the artist or for the film at large. They become reminders of how comparatively little by way of style or philosophy Cooper puts into his work, even if his protagonist can be seen watching them, enjoying them and being influenced by them in a way that makes his wheels silently turn. But what that influence leads to, and the synapses it fires, remain something of a mystery.

    At the end of the day, Deliver Me From Nowhere is a film worth looking at and observing from the same distance that Cooper frames his impenetrable version of Springsteen, whose troubles hover over his creative process like a gloomy cloud. But the camera seldom looks past the pristine surfaces it creates in order to explore those problems or Springsteen’s connection to the many lyrics we see him jotting down throughout the runtime. “Double album??” he scrawls at one point, underlining it twice in a gesture that hilariously ends up with about as much weight and meaning as any of Springsteen’s actual lyrics—in a film nominally about the lifelong pain that fuels them. Sure. Double album. Why the hell not?

    Screening at NYFF: Scott Cooper’s ‘Springsteen: Deliver Me From Nowhere’

    Siddhant Adlakha

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  • One Fine Show: ‘This is What You Get’ at the Ashmolean Museum

    Stanley Donwood (b. 1968) and Thom Yorke (b. 1968), Pacific Coast, 2003. Acrylic on canvas, 150 x 150 cm. Collection of Stanley Donwood. Photo: Ellie Atkins © Stanley Donwood and Thom Yorke

    With a few glaring exceptions, Radiohead is known to have good taste when it comes to the people with whom its members choose to collaborate. Their music videos have been directed by Jonathan Glazer and Paul Thomas Anderson, for whom Jonny Greenwood has done several soundtracks, and Thom Yorke did the excellent score for Luca Guadagnino’s 2018 Suspiria remake, which had every possibility of being good in other regards as well. And who could forget Yorke and Greenwood’s appearance as themselves in the South Park episode “Scott Tenorman Must Die” (2001), mocking the villain for crying because Cartman had killed his parents?

    A new show at the Ashmolean Museum, “This Is What You Get,” celebrates the band’s visual art for their albums and related materials. They have collaborated with artist Stanley Donwood on every album since their second, “The Bends” (1995), the cover of which features a CPR dummy that Yorke and Donwood discovered after they snuck into the basement of Oxford’s John Radcliffe Hospital. Ever since, Yorke and Donwood have been partners in all the band’s visual language, which is vast and complex. This homecoming exhibition features over 180 works—paintings, digital compositions, etchings, drawings and lyric sketches.

    Radiohead makes peerless music, but the exhibition demonstrates the extent to which their stirring album covers have wrapped these songs in a universe, a vibe, perhaps even an ethos. Because the band has been so influential, it can be a chicken-and-egg question as to whether their artwork was ahead of its time or simply shaped public consciousness because of how widespread it became.

    I would argue that it’s the former. Take the hollow-feeling, glitched-out landscape of OK Computer. This was created from a deep engagement with the moment: Yorke playing Tomb Raider (1996) in the studio with Donwood and noticing that when the scenery blurred due to memory errors, it was “the most beautiful thing we’ve ever seen.” The pair used an early Macintosh to design the cover, setting a rule for themselves that they could not undo any changes they made. The end result is a triumph. Not many people were making art like that in 1997. You’d have to compare it to the contemporary output by luminaries such as Julie Mehretu, Richard Prince and Christopher Wool.

    Some like to say they stopped after “Amnesiac” (2001), but “Hail to the Thief” (2003) and “In Rainbows” (2007) can be said of the visuals. Hail to the Thief has a false-naive style of painting—similar to artists who have become wildly popular today, like Jane Dickson and Stanley Whitney—while the spilled wax of In Rainbows recalls Wolfgang Tillmans’s recent efforts to make photography more organic and abstract. In the catalogue, Donwood is most proud of the T-shirts from the In Rainbows tour. Radiohead’s practice is precise and holistic, and the results have proven them to be consistently ahead of the curve in almost every way.

    “This is What You Get” is on view at the Ashmolean Museum through January 11, 2026.

    More exhibition reviews

    One Fine Show: ‘This is What You Get’ at the Ashmolean Museum

    Dan Duray

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  • Methuen city, school officials debate legal services

    METHUEN — School officials defended the separation of school and city legal services Monday night in opposition to efforts by some to consolidate resources.

    The City Council has been discussing a tabled measure that would affirm City Solicitor Paul O’Neill is in charge of all legal services for Methuen, including its schools.


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    By Teddy Tauscher | ttauscher@eagletribune.com

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  • Morgan Wallen Is Launching a New Festival. Is the Music World Ready for His Takeover?

    Morgan Wallen Is Launching a New Festival. Is the Music World Ready for His Takeover?

    On Saturday night, Morgan Wallen lit a cigar before going on stage in Charlotte, North Carolina for the 87th and final show of his One Night at a Time world tour. For the last two years, the 31-year-old country musician has traveled the world with a life-sized replica of his grandmother’s small-town Tennessee front porch as a set in his stadium show, a reference to the cover of his third album, One Thing at a Time. On the tour’s debut night, March 15, 2023, in Auckland, New Zealand, Wallen was a genre favorite whose crossover to pop wasn’t assured. He’s since become one of the US’s biggest music stars and one of Nashville’s best bets, recently smashing his own record for history’s highest-grossing country tour.

    Now, Wallen is planning for what’s next. Last week, he released his first new single, “Love Somebody” and announced the Sand in My Boots festival, in partnership with concert promoter AEG, scheduled to run May 16–18 in Gulf Shores, Alabama. Naturally, the three-day festival will include sets from his friends and collaborators Post Malone, Ernest Keith Smith, who performs as ERNEST, and Michael Hardy, better known as HARDY, and other big names in country music, including Brooks & Dunn, Bailey Zimmerman, and Chase Rice. But Wallen also handpicked performers from beyond his original music scene, with rapper Wiz Khalifa joining Three 6 Mafia, T-Pain, 2 Chainz, and Moneybagg Yo, and indie-rock band the War on Drugs—one of Wallen’s longtime favorite acts—headlining a list of bands that includes Future Islands, Real Estate, and Wild Nothing.

    Working with Wallen on the festival has been “a dream come true,” said Stacy Vee, vice president of festival booking for Goldenvoice, the production company behind the Coachella and Stagecoach festivals. She added that the lineup is “one of the most eclectic and electric” experiences she’s put on.

    The festival is the bow on a few years of Wallen’s rapid rise to pop stardom. “There’s no way when they signed Morgan that they were like, he’s going to be the one, he’s going to be the next Taylor Swift–type person in the genre,” Hardy told VF. He acknowledged Wallen’s talent as a singer and songwriter, but compared the total package to a small-town entrepreneur with the Midas touch. “I knew a guy from my hometown, he’s a business owner, and everything he touched turned to gold. He was a hard worker and a really smart guy, but some of it was just pure luck.”

    Wallen’s current industry stature is a far cry from where it was in February 2021, when the artist and his longtime label, Big Loud, came to a fork in the road. They had the number-one album in the nation, a few songs banked for a follow-up, and a raging controversy after TMZ published a video of Wallen saying a racial slur to a friend in his driveway. Condemnation from inside and outside of Nashville was swift. His music was pulled from the biggest radio stations, Spotify removed promotion of his recent release, Dangerous: The Double Album, from its playlist, and other popular musicians, including Maren Morris, Jason Isbell, and Kelsea Ballerini, spoke out against Wallen. The singer had to prove he either wanted to be an entertainer for all, or embrace the “canceled” label and consign himself to the worst type of second act.

    He made his choice quickly, and it seemed like an easy one. After filming a hangdog apology video, he went to a San Diego rehab facility for a 30-day stay to address his relationship with alcohol. He even told his fans that they shouldn’t be supporting him. “I was never that guy that people were portraying me to be,” Wallen said in an interview with Billboard in December 2023 regarding the video. “If I was that guy, then I wouldn’t have cared. I wouldn’t have apologized. I wouldn’t have done any of that if I really was that guy that people were saying about me.”

    Curiously, or not, the album stayed affixed to the top of the charts for over a year. Had the scandal actually helped his career? Fearful that it had, Wallen and his team did some back-of-the-envelope math and settled on $500,000 as the rough value of all the press he’d received, however negative, and promised it to Black-serving organizations, including the Black Music Action Coalition. And then, Wallen was left in an odd place—too popular to be ignored but seemingly too toxic to remain mainstream.

    Erin Vanderhoof

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  • Here’s every musician with a beef or lawsuit against Donald Trump

    Here’s every musician with a beef or lawsuit against Donald Trump

    There’s a lengthy list of musicians who have taken issue with Donald Trump over his presidential campaigns using their songs — and it only continues to grow. Dozens of artists and bands, from ABBA and Elton John to Rihanna and Paul McCartney, have publicly condemned Donald Trump since 2015 for playing their songs at his events and rallies…

    Benjamin Leatherman

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  • Evergreen Partners with DistroKid: Empowering Artists to Be Prolific

    Evergreen Partners with DistroKid: Empowering Artists to Be Prolific

    DistroKid, a leading service for musicians to distribute music, has teamed up with Evergreen to spread awareness and support the arts.


    CLEVELAND, June 20, 2024 (Newswire.com)
    –
    Evergreen Podcasts a Cleveland-based global podcast production network, is excited to announce a signature sponsorship deal with DistroKid, a leading service for musicians to distribute their music to online stores and streaming services. DistroKid, known for empowering musicians, aligns perfectly with Evergreen’s mission to amplify creative voices. This collaboration aims to spotlight artists both within and outside Evergreen’s network, helping them to “Be Prolific” and succeed in the competitive music industry. 

    With this sponsorship, DistroKid will reach hundreds of thousands of listeners each month through Evergreen’s network of shows. The additional audio and visual brand exposure is also valuable listeners who will benefit from a 30% discount on their one-year DistroKid membership. Evergreen Podcasts is pleased to make the connection between a prolific organization like DistroKid, and the many artists that make up our audience. The following podcasts shows are being supported through this sponsorship: 

    Chris DeMakes a Podcast

    One Hit Thunder

    Too Much Effing Perspective

    The 500 with Josh Adam Meyers

    Riffs on Riffs

    Death of a Rock Star

    None but the Brave

    No Simple Road

    Moods & Modes

    Inside the Musician’s Brain

    In addition to their renowned distribution services, DistroKid offers powerful tools to help artists thrive. Mixea allows musicians to quickly polish their tracks with customizable mastering, ensuring their music sounds as professional as their influences. Instant Share lets users securely share high-quality files with collaborators and industry professionals, making collaboration seamless. The DistroKid App provides essential features such as uploading new releases, tracking earnings, and managing streaming stats, all from your mobile device. To learn more and get started, download the DistroKid app, available now on iOS and Android.

    The sponsorship agreement between Evergreen Podcasts and DistroKid is effective immediately across all participating shows. Evergreen’s shows are available now on Apple Podcasts, Spotify, and other streaming platforms.

    Press inquiries: If you’d like to interview members from Evergreen Podcasts or DistroKid, please contact Samantha Maloy. 

    About Evergreen Podcasts

    Evergreen Podcasts is one of the world’s largest independent podcast networks with a premier catalog of over 300 entertaining and thought-provoking shows. A full-service podcast production, brand marketing, and sales organization, Evergreen is rooted in high production values and artistic integrity. With a diverse roster of storytellers from true crime, pop culture, comedy, and beyond, Evergreen Podcasts connects listeners with content that informs, entertains, and inspires. For more information, visit evergreenpodcasts.com.

    Source: Evergreen Podcasts

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  • 43-Year-Old’s Remote Side Hustle Earns Nearly $3,000 a Month | Entrepreneur

    43-Year-Old’s Remote Side Hustle Earns Nearly $3,000 a Month | Entrepreneur

    This Side Hustle Spotlight Q&A features Sam Ziegler, a 43-year-old drummer based out of New York who has a side hustle providing support on Geeker, which offers on-demand help from IT and software experts.

    Image Credit: Courtesy of Sam Ziegler

    When did you start your side hustle, and where did you find the inspiration for it?

    My passion is music, but the gigs, and therefore the income, are not always consistent, so relying on it as a full-time career is not realistic. I started with Geeker in July 2023. I have many years of IT experience and was hoping something like Geeker existed, a remote side hustle where I could apply my skill set to help people solve their computer problems. I was conducting some research on Google and discovered Geeker. My inspiration is my family and the opportunity to help people. Knowing that you make someone else’s life easier by solving computer issues is a very fulfilling feeling.

    What were some of the first steps you took to get started with the side hustle?

    I filled out the registration form to become a Geeker, answered a few technical questions they used to measure and qualify my expertise and then had a Zoom interview. After the interview, I was approved as a Geeker.

    Related: I Made Over $400,000 From a Side Hustle on Top of My 6-Figure Salary Last Year. I Love Diversified Income — and This Game-Changing Money-Saver.

    What were some of the biggest challenges you faced during your side hustle journey, and how did you navigate them?

    I am now 43 and have been playing music for 28 years. I went to vocational school for computer repair in 1999 and took a job with IDT. While there, I became skilled in telecom and got certified in Cisco networking technology. Around that time, I was splitting time between the Newark office and the IDT offices in Manhattan. Then September 11 happened, and the towers fell close to the building I was commuting to, and I thought, Life is too short. I left IDT to pursue music full-time. I have been playing weddings, bar and bat mitzvahs and concerts and recording music ever since.

    Along the way, I have kept my tech skills fresh by taking jobs here and there, but oftentimes, they didn’t have the flexibility I needed to keep doing my passion — music-related work. This past summer, I was looking for work as the summer season of busy music gigs was slowing, and I was trying to cobble together something that enabled me to use my tech skills where and when I wanted. I have a family now and had considered driving for Uber and Lyft to bring in some income, but I had some safety concerns and wanted to work from home. I came across Geeker, and it was exactly what I was looking for. I earn between $70-$90 an hour and work as much and as little as I need to, all from the comfort of home. I also get to help people, which I love.

    Related: At 23, She Started a Side Hustle for ‘Quick Money.’ Now the Business Brings in More Than $1 Million a Month — and Boasts Celebrity Fans.

    How long did it take you to see consistent monthly revenue? How much does the side hustle bring in on a monthly basis now?

    It varies every month because of the nature of what I do, but I average roughly $2,700 a month for about 28 hours of work. In the months that I have more time, I log in to Geeker to take on more, but on the average month, I only work about an hour each day.

    What’s your favorite part about working on the platform?

    Helping people from different parts of the world no matter where they are. The money component is just a small benefit I receive from doing something good for someone else. To me, money is a bonus and is secondary to the main reason I use Geeker for my side hustle.

    Related: The Most Unexpectedly Popular Side Hustle of the Decade Has Low Startup Costs and High Markups

    What’s your advice for others hoping to be successful on Geeker or with any side hustle?

    If you have the time, patience, passion to help people and a basic knowledge of how to fix computer problems, you can be on the right path to succeed on Geeker. “Success is about the journey, not the destination” is a life lesson I integrate into everything I do.

    Amanda Breen

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  • Britney Spears Says She Wrote a New Song After Memoir Release

    Britney Spears Says She Wrote a New Song After Memoir Release

    Just days after her memoir, The Woman In Me, hit shelves and made it abundantly clear, in Britney Spears’ own accounting, that she felt her long legal conservatorship had stolen the joy of performing her music, Spears is dangling the juiciest pop morsel in front of her fans.

    “I wrote a new song!!!” she captioned an Instagram post on Sunday. “Hate you to like me !!! No beef with anyone … just being a narcissist in a claimed, self-entitled way !!! It’s to accumulate interest by giving ego with my eyes closed because I hear important people do that these days.”

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    She paired the announcement not with an audio clip but a photo of her own face, golden curls flowing and eyes closed. 

    Spears, who claimed last week that her book is the highest-selling celebrity memoir of history, wrote in it that she was “struggling” with whether she’d perform again. She wrote that being forced to perform during the 13-year legal conservatorship that gave others total control over her stole her creative joy. 

    “Pushing forward in my musical career is not my focus at the moment,” she wrote. She collaborated with Elton John on a single, “Hold Me Closer” in 2022 and wrote that it felt “great,” but Spears admitted that she still had healing and thinking to do.

    “I keep getting asked when I’m going to put on shows again,” she wrote later in the book. “I confess that I’m struggling with that question. I’m enjoying dancing and singing the way I used to when I was younger and not trying to do it for my family’s benefit, not trying to get something, but doing it for me and my genuine love of it.”

    Spears has already teased a sequel to The Woman In Me—after all, plenty has already happened since the events she recounted, like her pending divorce from husband Sam Asghari. In a now-deleted Instagram post from over the weekend, Spears wrote that we should expect another volume in 2024. Perhaps by then we’ll also have gotten to hear this song.

    Representatives for Britney Spears did not immediately return a request for comment. 

    Kase Wickman

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  • What Are Jimmy Buffett’s Businesses? Margaritaville, Music | Entrepreneur

    What Are Jimmy Buffett’s Businesses? Margaritaville, Music | Entrepreneur

    Jimmy Buffett‘s path from musical artist to entrepreneurship seemed like a natural pivot.

    The “Margaritaville” singer, who died on September 1 at the age of 76 after battling Merkel cell skin cancer, is remembered for turning hit songs and an island-loving persona into a full-fledged business.

    From the success of the 1977 song “Margaritaville,” Buffett was inspired to start his Margaritaville brand of merch, restaurants, resorts, and more after the restaurant chain Chi-Chi’s tried to trademark “Margaritaville” as a drink special, per The Austin Chronicle. Buffett sued and won in 1983, and from then on, Buffett turned the Margaritaville into money.

    The Margaritaville brand was born in 1985 and grew from a T-shirt shop to the Margaritaville Cafe in Key West in 1987, per Florida Today. But Buffett didn’t stop there. The Margaritaville brand has since expanded to hotels, casinos, cruises, and even retirement homes.

    Keep scrolling for more details about Jimmy Buffett’s entrepreneurship.

    Michael Laughlin/South Florida Sun Sentinel/Tribune News Service via Getty Images | Jimmy Buffett performs at Old School Square in Delray Beach, Florida, on May 13, 2021. Buffett died Friday, Sept. 1, 2023, at age 76.

    What Are Jimmy Buffett’s Businesses?

    After opening the first Margaritaville restaurant in Key West in 1987, he went on to open another at Universal Studio’s City Walk in Orlando in 1999, per Florida Today. He later added hotels to his catalog after he licensed his name to a $50 million Florida hotel in 2010 in Pensacola. In 2015, he opened the Margaritaville Hollywood Beach Resort in Florida and the Margaritaville Vacation Club by Wyndham in St. Thomas U.S. Virgin Islands.

    Today, the Margaritaville brand includes 31 hotels and resorts across the U.S. including Margaritaville Palm Springs, Margaritaville Beach Resort South Padre Island, and Margaritaville Resort Times Square. He also owns a Latitude Margaritaville, a retirement community with locations in Daytona Beach, Florida, and Hilton Head, South Carolina.

    The Margaritaville umbrella also boasts a cruise line docked in Palm Beach, Florida, casinos such as the Margaritaville Casino in the Flamingo Hotel in Las Vegas, Radio Margaritaville on Sirius XM, a home decor line sold on the Margaritaville website, and tequila called Margaritaville sold at retailers like Drizly.

    Photo by Sean Zanni/Patrick McMullan via Getty Images | Margaritaville Resort Times Square “First Look” at Margaritaville Resort Times Square on June 10, 2021 in New York City.

    Buffett’s restaurant holdings include LandShark Bar & Grill with 17 locations across Florida and the south, and Cheeseburger in Paradise per Wall Street Journal, the latter of which was sold in 2012 for $11 million and later closed all its doors in 2020.

    He also wrote three best-selling books – “Tales from Margaritaville,” “Where Is Joe Merchant?” and a 1998 memoir, “A Pirate Looks at Fifty.

    How Much Did He Make From His Music?

    From the success of the 1977 song “Margaritaville,” which spent 22 weeks on the Billboard chart at the time, and his several other hits including “It’s 5 O’Clock Somewhere,” and “Son of a Sailor,” Buffett has earned an estimated $570 million from tours and recording, according to Forbes. His music catalog is worth $50 million.

    RELATED: All I Know About Marketing I Learned From Margaritas

    What Is Jimmy Buffett’s Net Worth?

    At his time of death, Buffett was chairman of Margarita Holdings LLC and held a 28 percent stake in the company valued at $180 million, per Forbes. He also owned $140 million in private planes, properties, and stocks.

    With his business assets and music revenue, Buffett earned a spot on Forbes’ Billionaires list in April. In total, his net worth is estimated to be around $1 billion.

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  • Melissa Etheridge Answers the Proust Questionnaire

    Melissa Etheridge Answers the Proust Questionnaire

    The musician and author of the new memoir Talking to My Angels on pancakes, Patrick Mahomes, and the power of attention.

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  • Whitesnake Guitarist Bernie Marsden Dies At 72

    Whitesnake Guitarist Bernie Marsden Dies At 72

    Bernie Marsden, the original guitarist for monumentally popular 1980s metal band Whitesnake, died Thursday night at age 72. The news was first announced by former bandmate and Whitesnake lead singer David Coverdale, and was confirmed by a statement from his family. He was 72.

    Marsden was born in 1951 in Buckingham, England, and by his mid-20s he’d been the member of numerous notable bands, including UFO and Paice Ashton Lord. According to a 2020 interview with Louder, it wasn’t until 1978 that he found international fame, founding Whitesnake (initially called “David Coverdale’s Whitesnake”) with guitarist Micky Moody and Coverdale, who had recently left the band Deep Purple. 

    “There are certain moments in your career that feel like turning points,” Marsden said of playing live with Whitesnake.  “I was watching everything going on as I was playing, thinking to myself: ‘This is the band that you always dreamed you would be in.’”

    Marsden remained a member of Whitesnake until 1982, co-writing some of the band’s best-known hits. such as “Fool for You Loving” and “Here I Go Again.” The latter song, arguably Whitesnake’s most recognizable hit, was recut for the band’s 1987 album Whitesnake, released after Marsden had left the band.

    Speaking with Louder, Marsden said that it took less than a day to write the song, which hit #1 on the singles chart in the U.S. and remained in the top 10 for weeks. “It took maybe two hours,” Marsden said. “It all came together pretty quickly. And when I played it to David he got really excited. He went to his room and rewrote and rearranged the lyrics. I had no problem with that at all, because that’s how we were writing in those days, fifty-fifty.”

    After his time with Whitesnake, Marsden launched a number of solo projects and collaborated with luminaries including, as noted by Guitar World, “Robert Plant, Paul Weller, Jon Lord, Ringo Starr, Rory Gallagher, Jack Bruce and Warren Haynes.” He also wrote an autobiography, entitled Where’s My Guitar: An Inside Story of British Rock and Roll, that was published in 2017.

    His most recent album, Trios, was released in August 2022, Billboard notes. That same year, Marsden underwent surgery, and experienced some health setbacks including “acute dehydration,” he said in a statement posted to social media last August. The challenges prompted him to cancel a tour planned for late 2022, and it appears he did not return to the road.

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  • Entrepreneur+ Subscribers-Only Call | August 10: Discover How These Two Rockstars Rocked The Skincare Industry | Entrepreneur

    Entrepreneur+ Subscribers-Only Call | August 10: Discover How These Two Rockstars Rocked The Skincare Industry | Entrepreneur

    If you are looking to build a successful business with a strong brand, then join our next Entrepreneur+ Subscribers-Only Call on Thursday, August 10 at 3 PM ET with famous musicians (one from the rock band Incubus) Mike Einziger & Ann Marie Simpson-Einziger. Mike & Ann Marie will share what they learned to adapt their skills and become innovators in a completely different industry.

    This event is only for Entrepreneur+ subscribers, but you can become a subscriber for FREE. Use code 1FREE at checkout for one month of all access to Entrepreneur.com, including our premium content and the ability to participate in our Subscribers-Only Call.

    What you’ll learn on the call:

    • The power of curiosity and discovery

    • Stepping out of your comfort zone

    • Not being afraid of pushback or being laughed at by taking risks

    • The importance of R&D and the credibility of product and/or service

    What is a Subscribers-Only Call?

    It’s an exclusive, live Q&A for Entrepreneur+ members with some of the biggest and best names in business. On this interactive call, Entrepreneur+ members have the opportunity to talk to real entrepreneurs and get tips and insights that will help you grow your business or personal brand. If you can’t make this one, stay tuned — we hold these calls monthly.

    How to access as a subscriber:

    There are two ways to make sure you don’t miss out on this event. Follow this link for easy setup on your Entrepreneur+ homepage. Or, check your inbox for an [Entrepreneur+ Exclusive] email that contains the private link to the event. We will also notify your email right before the event to make sure you don’t miss out.

    Having issues signing up for the call? Email us at subscribe@entrepreneur.com.

    About the Speakers:

    Mike Einziger is a serial entrepreneur, the lead guitarist and co-founder of rock band Incubus and co-founder of biotech skincare brand Mother Science.

    In addition to Incubus, he has co-written, produced and collaborated with a wide range of globally-recognized artists including Pharrell Williams, Hans Zimmer, Tyler the Creator, and Damian Marley. In 2013, Einziger co-wrote the award-winning hit song “Wake Me Up,” alongside Avicii and Aloe Blacc as well.

    Einziger also co-founded wireless technology platform MIXhalo in 2017 alongside his wife Ann Marie Simpson-Einziger, where the two now serve as co-chairs. Most recently, Einziger co-founded Mother Science which launched in May 2023 with a single proprietary product, Molecular Hero Serum. Clinically-tested and patented, it’s the first and only skincare product to be formulated with cutting-edge ingredient Malassezin.

    Through his passions for music and science, Einziger has been able to successfully pursue various endeavors in both industries. He studied the history and philosophy of Physics at Harvard University. When he’s not touring with Incubus, he currently resides in Malibu, California with his wife and business partner Ann Marie Simpson-Einziger and 3 young children.

    Ann Marie Simpson-Einziger is a serial entrepreneur, internationally acclaimed violinist and co-founder of biotech skincare brand Mother Science.

    As a rock violinist, Simpson-Einziger has collaborated with acclaimed artists including The Dave Matthews Band, Glen Ballard, Incubus, Aretha Franklin, film score composer Hans Zimmer and many more. Throughout her impressive career, she has performed as a soloist at the Grammy Awards with the Foo Fighters, and performed with Bon Jovi at the White House for President Obama as well.

    Simpson-Einziger’s love of music is also paralleled by a passion for science, and she studied Biology at The University of Virginia and was a former teacher of high school physics and chemistry.

    In 2016, while on tour, Simpson-Einziger experienced a harmless skin condition that led her to the counterintuitive thought that whatever is causing this may have other benefits to the skin. After 6 years of research and development, she ultimately co-founded Mother Science in May 2023 alongside her husband Mike Einziger, Incubus’ lead guitarist. The brand launched with a single proprietary product, Molecular Hero Serum. Clinically-tested and patented, it’s the first and only skincare product to be formulated with cutting-edge ingredient Malassezin.

    Her entrepreneurial endeavors also include co-founding wireless technology platform MIXhalo in 2017 alongside her husband, where the two now serve as co-chairs.

    Simpson-Einziger currently resides in Malibu, California with her husband and 3 young daughters.

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    Entrepreneur Staff

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  • Two Still Dead In Mausoleum Collapse

    Two Still Dead In Mausoleum Collapse

    SAVANNAH, GA—Unable to revive the crushed, skeletal remains pulled from the rubble, first responders confirmed Wednesday that two people were still dead after a local mausoleum collapsed. “Upon sifting through the debris, we unfortunately found no survivors among the already deceased,” said rescue worker Brandon Reinhardt, explaining that by the time EMTs arrived on the scene, the crypt’s occupants had already been dead for over 150 years. “We rushed to the scene as quickly as possible, but the victims, Horace P. Wingart and wife, continued to be unresponsive. It appears they were unable to escape, and this remained the case after the collapse caused several large blocks of granite to fall on their coffins.” Local officials confirmed the next of kin had been located in an adjacent grave plot and notified.

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  • Paul McCartney: New Beatles Song Made With AI Coming This Year | Entrepreneur

    Paul McCartney: New Beatles Song Made With AI Coming This Year | Entrepreneur

    While some artists are vehemently against the use of artificial intelligence in art, others are leaning into the technology’s capabilities to create what otherwise wouldn’t be possible.

    During an interview with BBC released on Tuesday, Paul McCartney said the “last Beatles record” will be released as soon as this year. While McCartney, 80, along with Ringo Starr, 82, are the only two living Beatles members, the late John Lennon will appear on the new track — thanks to artificial intelligence.

    McCartney said an old demo of Lennon’s voice was “extricated” and then mixed with the record.

    “When we came to make what will be the last Beatles record, it was a demo that John had, that we worked on,” McCartney said in the interview. “We were able to take John’s voice and get it pure through this A.I., so then we could mix the record, as you would normally do.”

    Related: ‘Biggest Risk of Artificial Intelligence’: Microsoft’s President Says Deepfakes Are AI’s Biggest Problem

    McCartney didn’t give any hints regarding the title or lyrics of the song, but he did say that it will be “released this year.”

    As far as the broader implications of the technology, McCartney voiced both excitement and apprehension.

    “It’s kind of scary but exciting because it’s the future,” he said. “We’ll just have to see where that leads.”

    Holly Tessler, a senior lecturer on the Beatles at the University of Liverpool, told the New York Times that using the late Lennon’s voice for a new track creates an “ethical gray area.”

    “We have absolutely no way of knowing, creatively, if John were alive, what he’d want to do with these or what he’d want his contribution to be,” she said.

    Related: A ‘Fake Drake’ Song Using Generative AI Was Just Pulled From Streaming Services

    Madeline Garfinkle

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  • How Tiktok and YouTube Are Changing Music | Entrepreneur

    How Tiktok and YouTube Are Changing Music | Entrepreneur

    Opinions expressed by Entrepreneur contributors are their own.

    Music discovery and entrepreneurship are witnessing a paradigm shift — courtesy of the digital era. Platforms like YouTube and TikTok have revolutionized traditional mechanisms, providing an open stage for emerging artists to connect directly with global audiences and redefining the business landscape.

    These digital platforms are not limited to connecting artists with audiences. They’ve fostered a new ecosystem comprising music influencers, reaction channels, cover artists and dance challenge creators, all contributing significantly to music discovery. However, the digital revolution also presents challenges, with artists trying to stand out in a crowded digital space and listeners navigating the overwhelming volume of music.

    The digital wave of YouTube and TikTok

    YouTube, since its inception in 2005, has emerged as a game-changer. With over two billion logged-in users monthly, it provides a democratic space for artists worldwide, paving the way for music stars like Justin Bieber and Ed Sheeran.

    TikTok, though a more recent player, has already made its mark as a music discovery platform. Its unique algorithm prioritizes content discovery, allowing artists like Lil Nas X to gain overnight popularity with hits like “Old Town Road.” For music enthusiasts, these platforms provide an endless catalog of diverse music genres, styles and artists.

    Related: TikTok Is Reportedly in Talks to Expand Its Music-Streaming, Could Take on Spotify

    The power of podcasts

    Another significant product of the digital revolution is podcasts. They offer a unique platform for music discussion and discovery. They provide an intimate, conversational format for exploring music, the artist’s journey, genre impact and the industry’s evolving landscape. With shows like “Song Exploder,” where musicians break down their songs, podcasts offer a deep dive into music, presenting a richer experience and potentially revealing unheard artists and tracks to listeners.

    Related: How to Master the Power of Podcasts in Your Marketing Strategy

    Music entrepreneurship in the digital age

    Entrepreneurship within the music industry has expanded beyond traditional roles, courtesy of the digital age. Platforms like YouTube and TikTok have democratized music discovery, enabling artists to bypass traditional gatekeepers and reach audiences directly. Consequently, roles such as independent playlist curators, music bloggers, influencer marketers and data analysts have emerged.

    Data and analytics have become crucial, offering valuable insights into audience behavior and preferences and informing decisions on marketing strategies and tour locations. For instance, Chance the Rapper utilized these digital platforms effectively to distribute his music, connect with fans and win a Grammy, all while remaining independent.

    Future trends and predictions

    Emerging technologies and cultural shifts continue to shape the landscape of music discovery and entrepreneurship. Artificial Intelligence (AI) has already made its mark in song recommendations, and its role could expand to music creation. Companies like OpenAI’s MuseNet, which generates original songs in various styles and genres, suggest that AI could democratize music creation further.

    Virtual Reality (VR) is another trend with the potential to revolutionize the industry. It could transform live music experiences, allowing artists to perform in virtual spaces and fans to attend concerts from anywhere worldwide, opening new revenue streams and making music more accessible to a global audience.

    The role of community in music discovery is expected to grow. Trusted curators and influencers could become more important in this scenario, with platforms fostering a sense of community and offering personalized recommendations.

    Related: The Benefits of Investing in Talent: How It Impacts the Music Industry and Beyond

    On the entrepreneurship front, the ethical use of data will become increasingly critical. As data-driven decision-making becomes standard, organizations must navigate privacy concerns and ensure they collect and use data ethically.

    In conclusion, digital platforms have fundamentally reshaped music discovery and entrepreneurship, introducing new roles and making data-driven strategies vital. Anticipated future trends, such as AI and VR’s influence, an increased emphasis on community and a focus on ethical data use, further emphasize the importance of adapting to these dynamic shifts. The music industry’s future lies in embracing these changes, fostering a sense of community and leveraging technology responsibly to continue discovering tomorrow’s stars.

    Eric Dalius

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  • Paramore’s Hayley Williams Is In the Business of Changing

    Paramore’s Hayley Williams Is In the Business of Changing

    One consistent thing, Williams tells me over the phone, is the presence of her dog, Alf, (named after the titular character of the ’80s sitcom Alf: “He’s a morale boost for everyone”), and Brian O’Connor, her longtime hair and makeup artist, and cofounder of their shared venture, Good Dye Young, a hair dye company they launched in 2016. When she calls me to talk about the concert, she’s back in her glam chair with O’Connor prepping for an event at Ulta, where the product is launching in stores. “I can’t believe we’re in Ulta,” says the Grammy Award–winning artist. “It’s sort of a fever dream because we’ve talked about it for so long.”

    To commemorate Paramore’s return to the storied venue, Williams, O’Connor, and her stylist, Lindsey Hartman, collaborated on creating a ’60s-inspired look that evoked the likes of French New Wave actors and English supermodels rather than pop-punk icons. 

    ERIC BOTTERO

    “Hayley Williams is not on Pinterest,” Williams jokes about finding inspiration. “But several fake names that I’ve come up with have so many Pinterest accounts because I forget my password.”

    For Tuesday night’s show, Williams commanded the stage in an ultramini netted Stella McCartney dress atop a custom metallic bra top and hot pants, paired with matching silver Mary Jane shoes by Le Monde Béryl, (“I saw a couple of fans like, What the fuck are these? But you know what? They are very sensible and easy to kick around and do my little two-step in,” says Williams). Her signature shaggy bangs and sleek Twiggy-esque eyeliner completed the look. In all her sparkling minidress glory, Williams, centerstage, answers the question of, What if the muses of the ’60s were heard and not just seen? “Jane Birkin is one of the few muses we’ve had for this album cycle. It’s also very Jane Asher, a little bit of Mary Quant. A lot of leg and really short skirts,” says Williams. “Almost as a reflection back to the ’60s and women protesting. I feel like we’re in such a moment culturally and politically that is reflective of those times in the worst of ways. It feels regressive and terrifying. I’m not doing it in the most overt way, but I think trying to inject a little bit of awareness into the choices that we’re making fashionwise and beautywise is important.”

    Photographs from Zachary Gray

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  • Week In Review: May 28, 2023

    Week In Review: May 28, 2023

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    Houseguest Offended After Host Only Offers Rawhide To Dog

    Houseguest Offended After Host Only Offers Rawhide To Dog

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    Athletes Respond To LeBron James’ Rumored Retirement

    Athletes Respond To LeBron James’ Rumored Retirement

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  • Ed Sheeran Celebrates Court Win In NYC By Stomping on a Volvo

    Ed Sheeran Celebrates Court Win In NYC By Stomping on a Volvo

    It seems that Ed Sheeran is so happy that his long legal battle is over, he could sing. So he did. 

    On Thursday, Sheeran won the copyright infringement suit first brought against him in 2018 alleging that Sheeran’s hit song “Thinking Out Loud” had ripped off Marvin Gaye’s “Let’s Get It On.” The suit was brought by the family of Gaye’s late co-writer, Ed Townsend, and Townsend’s family asked for $100 million in damages.

    After the verdict was announced in Sheeran’s favor, the singer told reporters outside the courthouse, “I’m obviously very happy with the outcome of the case. And it looks like I’m not having to retire from my day job after all.” 

    “These chords are common building blocks which were used to create music long before ‘Let’s Get It On’ was written and will be used to make music long after we all are gone,” Sheeran said. “They are in a songwriter’s ‘alphabet,’ our toolkit, and should be there for all of us to use. No one owns them or the way they are played, in the same way that nobody owns the color blue.”

    On Friday evening, Sheeran swapped the suit and tie he’d worn in court for more casual attire and celebrated both the win and the release of his latest album, Subtract, with a mini concert on the street in New York City. Subtract was officially released Friday, and Sheeran has a pop-up shop, “The Subtract Experience,” currently open in SoHo. To the delight of crowds of gathered fans, Sheeran hopped on top of a parked Volvo with his acoustic guitar and performed about a half-dozen songs, including the contentious “Thinking Out Loud.”

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    Despite asking if he could “play one song before I go,” Sheeran delivered several songs after starting off with “Boat,” off of Subtract. 

    In the video Sheeran posted of the first song on his Instagram, fans praised him in the comments section, but worried for the car he used as a makeshift stage. 

    “Ed this song is so good but that volvos roof is finished,” one commenter wrote. 

    “As a Volvo owner, this gave me anxiety,” another said. 

    “Crushin’ it. And the Volvo,” said yet another. 

    Sheeran is no stranger to paperwork nightmares, coming under fire from neighbors in the UK in 2022 for seeking to install a private crypt below his home there. Recently, he’s been surprising people all over the five boroughs, hanging out in Irish pubs and singing duets with subway buskers. He’s just here to spread joy and a Sheeran quality. 

    Kase Wickman

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