Ariana Grande & Thundercat Deliver Surprise Performance of ‘Them Changes’ at Adult Swim Festival

Ariana Grande and Thundercat dropped by the virtual Adult Swim Festival on Friday night (Nov. 13), delivering a surprise performance of the latter’s “Them Changes.”

Both performed the funky track in cat ears, with Thundercat rocking the base while Grande provided her characteristically soaring vocals. This also  isn’t the first time the pop singer covered “Them Changes.” Back in 2018, she performed the track in BBC’s Live Lounge.

“It feels like Ariana and I are forever connected through Mac [Miller] and this is part of the healing process,” Thundercat said of his friendship and collaboration with Grande. Miller, who frequently worked with Thunder and dated Grande for two years, died in September 2018 of a drug overdose.

Watch the performance below.

Here Are the Lyrics to Lil Durk, 6LACK & Young Thug’s ‘Stay Down’

Chicago rapper Lil Durk teams up with Atlanta natives 6LACK and Young Thug for “Stay Down,” which locked down the No. 92 spot on the Billboard Hot 100 in its first week (chart dated Nov. 14).

The three make their rounds by driving heavy-duty vehicles in the music video, taking turns unloading melancholic and melodic bars about questioning a woman’s motives.

Check out the lyrics and music video below.

(DY Krazy)
(Metro, Metro, Metro)

F— them other bi—es who don’t rock with us
Only five star sh–, ain’t no thots with us
Chanel round shades like binoculars
Diamond nose ring, they think Pac with us
I gave you every penny like Oscar
We gon’ smoke a pound of runtz at the Oscars
She f—ed on a hooper and a boxer
Came to my crib in his boxers
Knowin’ me, I’m from the block, I still f—ed her
I came from Earl’s Chicken to eatin’ lobsters
Spanish bi— say “Gracias”
Before I eat, I say my Fatiha
I need a Spider jacket, where is Thug?
I ain’t playin’, I got my Glock in the club
I break the Perc just to give her a buzz
F— you if you ain’t show us no love (show us no love)

This sh– crazy
Hoppin’ out the car, no photos, baby
F— around with you, I been throwed off lately
Heard sh– through the grapevine
You want time, I’ma take mine
Gucci belt for her waistline
Say you down, gotta stay down
Otherwise I’ma make my rounds, no cap, yeah

I don’t discriminate, I want a rich thot
Shawty showin’ her p—y all on TikTok
P—y drippin’, Blueface gotta switch mops
Why you trippin’? Just give me all your attention
I be deep inside her stomach, make her guts talk
I don’t want that quiet sex, I want that slut talk
Stop actin’ like you don’t wanna go to that Slut Walk
I half like you, so I went half on your butt shots
I can’t be seen with you at stores, I gotta pull off
And we be f—in’ with a condom, I damn near pulled it off
And you know I don’t give no f— (no-no, no)
And I know that DY f—ed (no-no, no)
And I know that Metro f—ed (no-no, no)
Them my brothers and I’ma still show you love
I’ma still show you love

This sh– crazy
Hoppin’ out the car, no photos, baby
F— around with you, I been throwed off lately
Heard sh– through the grapevine
You want time, I’ma take mine
Gucci belt for her waistline
Say you down, gotta stay down
Otherwise I’ma make my rounds, no cap, yeah

I put you on the finest
I take you out shoppin’ for diamonds
French Polynesian, courtesy of the plug
So much fun, n—a, shout out to Thug

Foamposites, make deposits, I just check stubs
Got the pocket rocket outside of the club
Whoa, kimosabe, Benz big as it come
If you love me would you tell me that you ride for me?
Keep it gangsta, would you die for me?
Let you shop, you go get all designer, yeah
Double up the Rolls, let you ride over here, money ties over here
Mob ties over here, I can load you down with supplies over here
We can rub you down, it’s paradise over here
Motherf—er, keep your eyes from over here
You can die from over here, yeah

This sh– crazy
Hoppin’ out the car, no photos, baby
F— around with you, I been throwed off lately
Heard sh– through the grapevine
You want time, I’ma take mine
Gucci belt for her waistline
Say you down, gotta stay down
Otherwise I’ma make my rounds, no cap, yeah

Lyrics licensed & provided by LyricFind

Lyrics © Universal Music Publishing Group

Written by: Durk Banks, Jeffery Williams, Ricardo Valentine, Dwan Avery, Leland Tyler Wayne

Post Malone Was Almost Featured on Fleet Foxes’ New Album

Post Malone is no stranger to genre-bending collaborations, teaming up with everyone from Ty Dolla $ign and 21 Savage to Ozzy Osbourne and Justin Bieber for chart topping hits. But the singer almost dipped his toes into the indie rock pool recently.

In an interview on RADIO.COM’s New ArrivalsFleet Foxes singer Robin Pecknold revealed that the band almost collaborated with Post on their recent album, Shore. “He came by the studio for one day while we were working in L.A. and listened to stuff and was super supportive,” he said. “We didn’t get together in time because I wanted to get the album out quickly, but I did ask him to be on it. He was down, but we just didn’t end up having time.”

Post Malone’s been a longtime fan of Fleet Foxes; he even tweeted out a declaration of love back in 2015. “if you don’t like flee [sic] foxes then f— you,” he proclaimed.

Big Neon Aims to Link Brands and Indie Venues With New Sponsorship Venture

Ticketfly co-founder Dan Teree and former Ticketfly executive and business parter Ryan O’Connor have launched a new initiative to link brands with music clubs looking to diversify their revenue streams.

The Big Neon Network is a new offering from event ticketing platform Big Neon. It is being made available to both ticketing clients and non-ticketing clients who are looking to participate in brand deals, which will be brokered by Big Neon in exchange for exclusive access to the venue’s advertising inventory. For clients, this will create a new way to generate income both during and after the pandemic.

“This is not an original model — it’s aggregating disaggregated rights, which is something the NCAA does with their television rights,” O’Connor says. “Very few D-1 schools can command national brand dollars, so they roll them and package them together. It’s similar to how Live Nation handles their sponsorships,” which generated $590.3 million for the company in 2019.

Hoping to capture some of that revenue for its clients, Teree and O’Connor created the network and began asking venues “for the right to represent them and aggregate and bundle them as part of a turnkey media buy to large national brands.” Big Neon does not pay in advance for the sponsorship and is hoping that an integration with its ticketing platform will entice venues to use the company, but it also offers a non-ticketed option. Teree and O’Connor have signed up 28 venues, including the Masquerade in Atlanta, the Exit/In in Nashville, midwest promoter First Fleet Concerts and venues within the Knitting Factory.

“What Big Neon is building makes a ton of sense for our organization and we will absolutely benefit by being part of a large network,” says Knitting Factory chief executive Morgan Margolis,  “I trust these guys’ deep experience in our industry and their ability to attract the right brands.”

Joining Teree and O’Connor to lead Big Neon’s brand partnerships is veteran executive Scott Epstein, who spent two decades running all marketing partnerships for Madison Square Garden, including the Knicks and Rangers sports franchises. In addition to Epstein, Big Neon has added Michael Oringer of Stoli Group and Scott McNearney, who oversees all brand partnerships at SXSW, to its advisory board.

 

Round Hill Shares Slightly Up on First Day of Trading — What Happens Next?

Round Hill Music Royalty Fund’s initial public offering fell short of its $375 million target (it raised $282 million at $1 per share), which had been earmarked to buy a catalog of song publishing valued at $363 million — but there are contingency plans. According to its Oct. 19 prospectus, the publishing company anticipated the possibility of a gap and planned alternate options, including buying just a portion of the planned catalog acquisition instead of the whole thing.

What’s more, Round Hill now has until Oct. 18, 2021, to issue the 83 million remaining shares, should market conditions support further fundraising toward the $375 million target, according to another contingency provision in the prospectus.

In doing the IPO, Round Hill Music said it planned to use the funds raised to buy the 40 song catalogs with over 120,000 songs that comprise the Round Hill Music Royalty Fund I, which launched in 2012 and today carries an appraised value of $363 million. Such commingled funds are attractive to institutional investors, but they are usually solicited with the understanding of a forthcoming payday. Typically that means the fund’s catalog investments will eventually be liquidated, allowing those investors to capture — hopefully — whatever appreciation has occurred. Round Hill’s public offering allows the institutional investors for its Music Royalty Fund I to cash out, while allowing Round Hill to retain management of the catalog for the new public investors.

But how does Round Hill deal with the gap between the $282 million raised by the IPO and the fund’s appraised value of $363 million? With $7.5 million expected to be deducted from the $282 million for investment banking-related fees — leaving $274.5 million — the company can acquire up to 75.62% of the target catalog. Or, sources suggest, Round Hill could take out a couple of songwriter catalogs, thus reducing the planned acquisition from that catalog to a valuation commensurate with the $282 million raised, among other possible options. Whatever Round Hill decides to do, the due diligence for the target acquisition has to be completed by Dec. 3, when the exclusivity period that the public fund now enjoys, per the deals signed letter of intent, will end, according to the prospectus.

While Round Hill may have fallen short of its $350 million target, some industry finance sources said that was a pretty lofty goal to begin with, while others point out that Hipgnosis Songs Fund Ltd. — which pioneered having a mutual-fund like vehicle allowing retail investors to own shares in music publishing assets — also fell short of its most recent target. Hipgnosis planned to raise up to £250 million ($329 million) in September, but only reached £190 million ($250 million). Between Hipgnosis and Round Hill successfully raising hundreds of millions of dollars but still falling short of target goals, some sources wonder if public investors’ interest has been saturated for the time being.

In other fundraising initiatives, Round Hill Music has been soliciting commitments for its Royalty Fund III and is expected to close on that soon. Sources say Round Hill has privately raised funding commitments from institutional investors in the range of $275 million to $300 million. That means that so far this year, the company has raised somewhere in the neighborhood of $555 million to $580 million from the public and private markets.

With Round Hill Music Royalty Fund III now fully committed, that fund will eventually look to invest in more music assets. Meanwhile, the publicly-traded Round Hill Music Fund could do more public offerings, or use subsequent royalty income to fund future acquisitions, meaning Round Hill could potentially have two funds looking to buy music assets. The Round Hill Music Royalty Fund is already anticipating this scenario, with the company committed to offering at least 50% of contemplated pipeline acquisitions to the publicly-traded entity.

The company says it typically appraises 75 to more than 100 transactions per year, of which 10 to 20 will meet its initial screening requirement. At any given time, Round Hill could have about $200 million in transactions under consideration, according to the prospectus.

If the publicly-traded Round Hill Music Royalty Fund raises more capital or needs to reinvest some of the royalty income the acquired catalog is generating, it doesn’t necessarily have to compete with the private commingled fund run by Round Hill for investments. Another option available to the publicly-traded fund would be buying the catalogs from Round Hill Music Royalty Fund II, which is believed to include the $245 million Carlin Music acquisition Round Hill made in 2018.

On Nov. 3, Round Hill filed that M&G Investment Management, the huge U.K. financial firm, would fulfill the cornerstone investor role and had committed to buying a certain amount — about 15% — of the IPO. M&G further requested minor changes to the prospectus, including naming Round Hill Music’s CEO and founder Josh Gruss as a key person. That key man clause means that if Gruss leaves the company or isn’t able to devote himself to running it full time, M&G could prevent Round Hill from making additional investment acquisitions until a key man replacement is named by Round Hill’s board of directors.

The company’s board consists of three independent, non-executive directors: chairman Trever Bowen, a chartered accountant who spent 11 years as a partner at KPMG and also helped to manage U2 and other artists; Caroline Chan, a retired corporate lawyer who worked on financial industry transactions; and Francis Keeling, who is currently senior vp international digital at Discovery and previously served as Spotify’s global head of licensing and, before that, Universal Music Group’s global head of digital business.

On the first day of trading, Round Hill Music Royalty Fund’s share price closed at $1.015 per share, according to Yahoo Finance — up 1.5% from the IPO investor price.

What’s Your Favorite Song From Justin Bieber’s ‘Purpose’ Album? Vote!

Justin Bieber has a purpose to celebrate today (Nov. 13): He released his fourth album Purpose five years ago. Which track remains your favorite to this day?

From the deluxe album’s 19 tracks, he’s notched three No. 1 hits on the Billboard Hot 100: “What Do You Mean?,” “Sorry” and “Love Yourself.” The “PURPOSE: The Movement” dance visual for “Sorry” remains one of the most-viewed YouTube videos with 3.3 billion views and counting.

This album also marks the first time Bieber’s worked with Halsey (“The Feeling”) and Nas (“We Are”).

So which track are you listening to today to celebrate Purpose’s fifth anniversary? Vote below!

Ben Platt Celebrates ’10 Gay A– Months’ With Boyfriend Noah Galvin

Ben Platt is celebrating a new milestone with boyfriend Noah Galvin.

The “Grow As We Go” singer took to his Instagram Story this week to share an adorable selfie with his arm around Galvin. “10 gay-ass months,” he captioned the sweet snap.

The duo have a hilarious connection, as they both played the title role in the musical Dear Evan Hansen on Broadway. Platt originated the role, and Galvin succeeded him in the show.

The couple made their relationship social media official back in May, with Platt tweeting out a Polaroid of the two snuggling up together. “ugh fine,” he captioned the photo.

See below.