The owner of the Peanuts theme song and other music from the Charlie Brown franchise is going on the legal offensive, filing four copyright lawsuits Wednesday (May 20) over alleged unauthorized uses of Vince Guaraldi‘s iconic jazz tracks.

In one case, Lee Mendelson Film Productions (LMFP) accused a video game company called GameMill Entertainment of creating unlicensed songs that “mimicked and evoked” Guaraldi’s songs for an otherwise-licensed Peanuts game.

In another case, the company accused the U.S. Department of the Interior of directly using Guaraldi’s “O Tannenbaum” from the soundtrack to A Charlie Brown Christmas in a digital holiday card without paying for it.

“Unauthorized use doesn’t just violate the law, it erodes the exclusivity and artistic integrity that make these compositions meaningful to generations of fans,” said Mendelson attorney Marc Jacobson, who added that the company will “no longer tolerate companies using their property without a license, especially in this era of instant digital sharing.”

Two more lawsuits, filed against collectibles manufacturers Buckle‑Down Inc. and Heritage Auctions, claim those companies used Peanuts songs, including the unofficial franchise theme “Linus and Lucy,” in promotional social media advertisements.

“The composition is an iconic theme, associated with a beloved children’s series and television Christmas classic special,” Mendelson’s lawyers write. “It is widely familiar to the American public as one of the most popular works of television music of all time.”

The original Peanuts comic strip was created by Charles M. Schulz in 1950, but the famous television specials were a joint project of Schultz, TV producer Lee Mendelson and animator Bill Melendez. Starting with Christmas and It’s the Great Pumpkin, Charlie Brown, the trio produced dozens of Peanuts specials, many of them scored by Guaraldi.

The rights to Guaraldi’s music are still held by the late Mendelson’s company, and they aren’t afraid to enforce them. In 2019, LMFP filed a similar copyright case against Dolly Parton’s Dollywood theme park over accusations that it had used Peanuts songs in Christmas-themed theatrical productions for years.

Wednesday’s lawsuit against GameMill is centered on Snoopy & The Great Mystery Club, a video game starring Charlie ​Brown’s dog Snoopy. GameMill properly licensed the Peanuts characters themselves — those rights are owned by a different company — but the lawsuit says it took a shortcut when it came to the music: Creating knockoff tracks that sounded highly similar to the originals.

“GameMill self-evidently wanted the Peanuts imagery in the [Snoopy] game to be paired with the Peanuts music, but, equally self-evidently, did not want to pay plaintiff for rights to use it,” LMFP’s attorneys write in that complaint.

The case against the Department of the Interior, meanwhile, claims that the federal agency used “Tannenbaum” in an animated Christmas card posted to Instagram, X and other social media sites. “The card was viewed millions of times on many platforms,” reads that complaint.

None of the defendants immediately returned requests for comment on Wednesday.

The month of June in New York City is often jam-packed with music. Within just a few weeks, Indie Week, the Libera Awards, Governors Ball, The Songwriter’s Hall of Fame and dozens of other events will take place, marking the official start of summer. For the past nine years, the New York City mayor’s office of media entertainment (MOME) has gotten on board with New York Music Month (NYMM), and Shira Gans, MOME’s senior executive director of policy and programs, is busy laying out the schedule for this year’s programming, which includes 60 events in 30 days across all five boroughs.

In the weeks leading up to the event, Gans is finalizing programming and ensuring this year’s conference taking place on June 3 touches on each facet of what’s impacting the music industry right now, from the integration of AI to how to find a job after layoffs.

When NYMM first launched in 2017, there were 12 events in all. This year’s programming includes 38 talks, 21 performances, the main conference and the return of NYMM’s free rehearsal series, offering more than 2,000 hours of free rehearsal space across four locations.

“It gets crazy,” Gans tells Billboard. “When I think of how it’s evolved over the years, it’s grown on a lot of levels… When I think about creating it, I think of it as infrastructure. And that’s really changed as I’ve seen the industry get more and more excited about Music Month. It’s a true public partnership.”

Last year marked the first time NYMM began charging for tickets to its conference, with Gans explaining they did so in order to ensure people who signed up were in attendance. Tickets currently run for $30, including all-in fees.

“What’s happening in New York is a rare alignment where public policy, private industry and independent creators stop orbiting separately and start operating as one ecosystem, acknowledging that culture survives only when the infrastructure behind it is intentionally built,” Josh Rabinowitz, music consultant and professor at Brooklyn Music Experience, says. “The result is NYC not just hosting the music business, but actively engineering the conditions that allow the future of the industry to exist here.”

As NYMM unveils its full lineup of events, Gans explains how the event has grown to become such an integral part of the city’s and the music industry’s infrastructure.

How do you source your programming for this event year after year?

Everything is sourced from the industry itself. Every idea, for the most part, is really somebody coming to me and saying, “Hey, I think this would benefit the segment of the industry that I work in.” I think this is an important topic. And then we’re able to invest and give funding to do that. So, it becomes a mirror and a megaphone.

When you’re on the conference circuit, it’s often the same people that get on the stage, either because that’s who people know, or it’s driven by sponsorships. No shade to that, but we try to move away from it. Beyond it growing some of the topics, I think it’s interesting to see how that shifts over time.

How do live events factor into NYMM?

In the beginning, I wasn’t that comfortable with live music being part of the conference. We co-branded with SummerStage and Celebrate Brooklyn, but I didn’t necessarily want the city to be putting our finger on the balance of culture and deciding, “This act is good and this act doesn’t get city funding.” As it’s grown and we’ve gotten more partnerships — I curate the curators, so we’re really working with people who are working with up-and-coming artists — on the performance side, it shifted, too, in that we did have more programming in terms of live music.

In the beginning, it was a partnership with the parks department to give opportunities for underserved communities in the Bronx and Queens. And, in the last couple of years, as this has become more of an industry-established thing, we’ve shifted focus to be a platform for emerging artists.

What are all your offerings within NYMM’s programming?

It starts with four verticals. It’s the conference talks, performances, we put rehearsal space to the side and then it’s this multidimensional matrix of factors. I’m considering the value of music. Are we getting things for artists? Are we getting things on the business side? Are we looking at sync? Are we looking at distribution? Are we looking at legal? This year, we’re going to have an event on the state of music journalism. What’s happening to that? And, if you don’t have local acts, if you don’t have as many local journalists, how do you get someone covered? If you can’t get them covered, how does that shift artist discovery and things like that?

I’ve added stuff on the hiring landscape, so we have one event that’s about, “You got laid off, what’s next?” I have another with a music headhunter who’s bringing together HR from major music companies to talk about what they’re looking for. There’s more in mental health. There’s been a lot of interest in the last couple years of people looking at the intersection of mental health from the angles of the challenges working in the industry, the challenges of an artist, and now how music is being used as healthcare.

How do you keep this event fresh year after year?

We rebranded last year, which I think helped a lot. It felt a bit like the school science fair because we didn’t have a consistent brand. We have the logo, but every individual event the person would create their own branding. We worked with a really great creative director, and now with our socials we created these templates that are color-coded by the vertical and there’s a lot of different choices. New York Music Month is cool because it’s the sum of all the parts, and now we have this brand and people see that they all look a little different, but then you start to get it.

How do you envision this event benefiting the New York City creator community?

I think it benefits them in several ways. The lineup is largely focused on professional development, be it actual skill building, free headshots and things like that.

Conferences are expensive. Even membership to different organizations can be challenging to figure out. I think professional development is important. I think networking itself is really important, as people think about some doomsday idea around AI. I do think human connection is something you can’t really replace and the strength of an industry really has to do with these different levels of strong ties and weak ties and how you meet people.

One of the biggest topics of conversation right now is around AI. How do you think that might impact New York City’s musicians and creators, and what panels and conversations do you have included in this year’s programming?

We’re going to have a panel on AI led by Drew Thurlow, who’s written books on the subject. And we’re going to have different perspectives — it’s a panel, right? We’ll have ElevenLabs there, other authors and academics who are thinking about AI. I think we’re moved from the philosophical parts, which first came up with Vernon Reed on stage in 2023. Back then, it was this mind-blowing idea. Now it’s more looking at the legal angles, and revenue models. How are people using that to make money? I think New York City is about innovation, and one of the things that makes it a great city is that it’s at the intersection of film, TV, advertising, tech and finance. That’s not something you have in L.A. or Nashville and is really unique to New York, and most of the programming is going to take that angle.

Liverpool, England recently hosted their own Music Month, taking inspiration from NYMM. What can other cities learn from events such as this one?

When you connect with people and talk about it, then you can model best practices and you can take ideas from other cities or places and see what’s worked. When we set the Office of Nightlife, that was really a moment that started in Europe talking about the nighttime economy and thinking about it in a way that was way advanced for the U.S., and that was something we were paying attention to. San Francisco had that with the nightlife board, which was there to protect nightlife and keep venues open late. Austin has done cool stuff with bringing artists from Scandinavian countries to do songwriting camps and helping monetize music as an export with those kinds of collaborations. I think we have a lot to learn from other cities.

The Museum of Broadcast Communications has announced the selection of eight new inductees into the Radio Hall of Fame for 2026. They will be honored at the in-person 2026 Radio Hall of Fame Induction ceremony on Thursday, Oct. 8 at the Fairmont Hotel in Chicago.

The 2026 Radio Hall of Fame inductees are:

Six of the eight inductees – Esiason, Kelly, Little, Smiley, Van Dyke and Winston – were chosen from a list of 24 nominees by a voting participant panel comprised of more than 950 industry professionals. The other two inductees – Green and Pittman – were voted on by the Radio Hall of Fame 2026 nominating committee.

The confidential ballot was conducted by Votem.com and overseen by Miller Kaplan’s Andrew Rosen.

 “Our congratulations to each of our 2026 Inductees on this well-deserved recognition,” Kraig Kitchin, co-chair of the Radio Hall of Fame (alongside Green), said in a statement. “Each of these inductees has performed at the highest levels for a sustained period of time to make our industry that much more impactful to listeners and advertisers as a result. I’m thrilled to see them properly recognized by this announcement and the forthcoming Induction ceremony this October. Thank you to our 2026 Nominating Committee and to the hundreds of voting panel participants for confirming our 2026 Class of Inductees.”

Kitchin was inducted into the Radio Hall of Fame in 2024. In addition to his duties at the Radio Hall of Fame, Kitchin has had a 45-year career in the radio industry. He has managed radio businesses and/or the careers of top radio personalities.

Fans and industry professionals can find more information, including photos of the inductees, at the Radio Hall of Fame site.

Tickets for the induction ceremony are on sale now at that same site. A portion of ticket purchases is a tax-deductible charitable donation to the Museum of Broadcast Communications, home to the Radio Hall of Fame.

Tribute book ads for the 2026 Radio Hall of Fame induction ceremony are available for purchase now. Contact Linde Thurman at: Linde@radiohalloffame.com for more information.

The Radio Hall of Fame was founded by the Emerson Radio Corporation in 1988. The Museum of Broadcast Communications took over operations of the Hall in 1991.

For the record, here’s the complete list of the 2026 nominees that were not inducted this year:

The judge overseeing the case of attempted murder against Rihanna has halted the proceedings in order to allow the accused, Ivanna Ortiz, 35, to undergo a mental health evaluation. According to the Associated Press, on Tuesday (May 19) Judge Shannon K. Cooley ordered a pause in the prosecution of Ortiz after Deputy Public Defender Derek Dillman said he has doubts about his client’s mental competence.

Ortiz is accused of firing 20 shots from an AR-15-like rifle at Rihanna’s Los Angeles home on March 8 while the singer, her partner, rapper A$AP Rocky, and their three children were in the residence; Ortiz has pleaded not guilty to the charges, which include 10 counts of assault with a semiautomatic firearm, one for each of the people on the two properties, as well as three charges of shooting at an occupied vehicle or dwelling.

Cooley ordered the psychiatric evaluations and temporarily transferred the case to a Hollywood mental health court that specializes in determining whether defendants can understand the proceedings against them and are capable of going through a trial. “It is the ethical obligation of counsel and the court to ensure that Ms. Ortiz’s rights are protected, including being able to assist counsel in conducting a defense in a rational manner,” Dillman told the AP; prosecutors did not comment on the decision.

If Ortiz is found incompetent, she could be held indefinitely in a state hospital until she is able to face the charges in court. The decision came a week after Cooley declined to pause the proceedings for a mental health evaluation and Ortiz objected, with the judge saying she thought the case should move on to trial. At that hearing, Cooley ordered that Ortiz should continue to be held on $2 million bail.

According to police, Ortiz pulled up to the home on March 8 in a rented Tesla and fired the rounds at the home. While no one was injured in the incident, according to police interviews with witnesses, some of the shots hit an Airstream trailer that Rihanna and Rocky were in, with investigators finding bullet holes in the trailer and on the exterior wall of the home’s second-floor nursery, where the three children were with their nanny.

Investigators said that after her arrest later that day, Ortiz, a licensed speech pathologist who has no prior police record, told them “I wasn’t attempting murder.” According to a copy of the police report obtained by Rolling Stone, Rihanna and Rocky were in the Airstream when the singer heard “approximately ten loud sounds like something banging on metal.” When she opened the curtains, she “observed bullet holes in the windshield directly in front of where she had been standing.

She then grabbed Rocky out of bed, “told him they were being shot at, and pushed both of them to the ground.” Police also said Rihanna allegedly stated, “they shooting at us,” as she forced Rocky to the ground before the couple ran into the garage and rushed into the home to make sure their children and staff were safe.

After the shooting, Ortiz fled and a police helicopter quickly found her car and arrested her. Investigators found six bullet holes in the vehicle gate of the Beverly Hills home, as well as a seventh on a pedestrian gate and three holes in a wooden fence covered by tall bushes. To date, Rihanna has not commented publicly on the incident.

Electric Daisy Carnival (EDC) will go extra-large for its 2027 event in Las Vegas, with a newly imagined “Dusk Till Dawn” concept.

Returning to its home at Las Vegas Motor Speedway, EDC Las Vegas 2027 will spill over two consecutive weekends, across 12 days.

The first of those weekends, “EDC Dusk,” will roll out from May 14-16. The second, “EDC Dawn,” is set for May 21-23, while the full “Dusk Till Dawn Experience” will party on from May 13-24.

According to reps at Insomniac, which produces the festival, the “Dusk Till Dawn” experience will extend beyond the festival grounds with curated EDC-themed events throughout Sin City.

The performers, too, will have a chance to roll the dice. Headliners can choose whether to attend ”EDC Dusk,” “EDC Dawn” or the full program.

“I’m really excited to introduce ‘Dusk Till Dawn’ as the next evolution of EDC and offer new ways for headliners to experience the music, art, connection and community that make this festival so special,” comments Insomniac founder Pasquale Rotella, in a statement.

“We wanted to reimagine EDC as a new type of immersive journey across 12 days and two consecutive weekend celebrations in one city we love.”

This new concept, he continues, gives headliners “the freedom to choose their own path and join us for one or both weekends, while enabling us to continue evolving, experimenting creatively, and sharing new moments Under the Electric Sky.”

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Party goers have a full year to get their EDC Las Vegas outfits sorted. The sold-out 2026 edition of EDC Las Vegas was presented last weekend in celebration of 30 years Under the Electric Sky. All told, more than 450 artists took their positions on stage, including Kaskade, Martin Garrix, John Summit, Tiësto, Charlotte de Witte, FISHER, Peggy Gou, Underworld and The Prodigy.

Last year, Insomniac reported that EDC 2026 sold out 24 hours after going on sale, with the fest welcoming roughly 200,000 people each day, placing it in the frame among the world’s largest music festivals. For those EDM fans who missed out this time, next year’s event should provide more opportunities to get in on the fun.

Tickets go on sale this Friday, May 22 at lasvegas.electricdaisycarnival.com. One weekend passes are priced from $399.99 (general admission all-in) up to $899.99 (VIP all-in), while two-weekend passes start from $599.99 (GA all-in) up to $1,699.99 (VIP all-in). Further details on the lineup, those citywide events and more will be announced at a later date.

Read Billboard’s interview with Pasquale Rotella here.

Universal Music Group (UMG) expects the newly acquired Downtown Music Group to save Virgin Music Group 15 to 20 million euros ($17.4- $23.3 million) in costs the coming years, further bolstering Virgin Music Group’s growth, which is outpacing UMG’s recorded music division overall, UMG CFO Matt Ellis said on Monday (May 18).

“In terms of the return, we’re driving 15 to 20 million euros of synergies over the next couple of years … a mid-teens [internal rate of return] for that investment,” Ellis said at a conference hosted by JPMorgan.

Ellis made the remarks during a wide-ranging discussion about factors that are pressuring UMG’s margins and how growth in lower-margin businesses like Downtown’s is impacting the complexion of its overall growth.

“Virgin is certainly growing faster, especially with the addition of Downtown,” Ellis said. “So we will continue to focus on driving revenue and EBITDA more so than just worried about the short-term margin impact.”

The discussion comes a little over a month since billionaire investor Bill Ackman criticized UMG’s investor communications and disclosures as “suboptimal” in his company Pershing Square’s offer to move UMG to the United States through a merger transaction. UMG has since taken steps toward providing more information to investors, including breaking out Downtown and Virgin Music Group’s financials in its recent first-quarter results, the company’s first since UMG closed its $775-million acquisition of Downtown.

Addressing questions about UMG’s overall flat margins in 2025, Ellis said the company’s strength is the overall operating leverage gained from its individual businesses, three of which — Virgin Music Group, physical distribution and publishing — are currently growing at faster rates than the recorded music division overall.

While they’re growing faster than recorded music, Ellis said those comparatively lower profit-margin businesses are having “a mixed effect on the gross margin line.”

Ellis declined to provide an update on when UMG may proceed with listing on a U.S. stock exchange, saying the board continues to review market conditions for such a move. Ellis similarly declined to say how UMG’s contractual agreements with BMG and Concord, which recently announced plans to merge and contract with UMG for certain services, would change post-merger.

Artist advances totaled more than 400 million euros in 2025, and Ellis said that line item has grown by 8% over the past six years. He called these advances a “working capital investment” that the company can recover from future sales of an artist’s work and revenue generated by an artist’s back catalog.

“As the total using industry has grown, it’s not surprising that advances have grown as well,” Ellis said, pointing to UMG’s 11% total revenue growth and nearly 14% adjusted earnings before income, tax, depreciation and amortization (EBITDA) over the same six-year period. “The fact that they’re growing is a reflection of the health of the music business, and we continue to look to deepen the relationship with our artists and the success that they’ve delivered.”

Ellis said he expects streaming revenue to rise in the coming year now that three higher-priced deals that UMG struck with streaming platforms in 2025 are going into effect, but he did not disclose specific guidance.

Asked about UMG’s merchandise acting as a drag on company margins over the past year, Ellis said he is optimistic about the top-line growth and demand from fans and artists alike for specialty T-shirts, jackets and other merchandise, but added they need to address operational issues that will result in higher margins.

Correction: A previous version of this story stated in the headline and first sentence that the Downtown acquisition is expected to result in 15 to 20 million euros in additional revenue. The story was corrected to reflect the Downtown acquisition is expected to result in 15 to 20 million euros in cost savings in the coming years.

Sydney metalcore outfit Ocean Sleeper have signed a new global recording deal with Rise Records and BMG, the band and label announced Friday (May 15). Their new single “Break the Cycle” is out now as the first release under the partnership.

The signing represents an expansion of Ocean Sleeper’s existing relationship with BMG, which previously partnered with the band across their debut album Don’t Leave Me This Way and EPs Maybe Death Is All I Need and Is It Better Feeling Nothing. The addition of Rise Records — home to Spiritbox, Sleeping With Sirens, Sum 41, Polyphia, Dance Gavin Dance and Memphis May Fire — gives the band a significant new foothold in the international heavy music market.

“We could not be prouder to announce we have signed a new global record deal with Rise Records & BMG,” the band said in a statement. “The essence of this band has always been independent and driven by a DIY attitude, but we are ready to level up with a team who we trust with our vision. Partnering with both a powerhouse in the industry and a label behind all our core favourite bands is an absolute honour.”

Heath Johns, President of Australia, New Zealand and Southeast Asia at BMG, called Ocean Sleeper “one of Australian heavy music’s best kept secrets” and said the combined resources of Rise Records and BMG would be taking the band “to every corner of the planet.” Sean Heydorn, SVP of Rise Records, praised the band’s “relentless work ethic, creative ambition, and a deep connection with their audience,” adding that Ocean Sleeper have “emerged as one of Australia’s standout metalcore bands.”

Since forming, Ocean Sleeper have built a devoted international following through sold-out headline tours in Australia and the U.S., appearances at Good Things Festival, and supports alongside Northlane, Parkway Drive, Polaris, Make Them Suffer and Thornhill. The band joins a BMG Australia and New Zealand roster that includes Chet Faker, Dope Lemon, Crowded House, Hockey Dad, The Cat Empire, Pacific Avenue and Ladyhawke.

J-pop festival Zipangu has teamed up with sponsor Xbox for a fashion collaboration with Fast & Furious franchise actor Sung Kang. The exclusive collaboration – in partnership with LA-based AAPI-led lifestyle brand UPRISERS LAB – is tied to the upcoming global release of the video game Forza Horizon 6, out Tuesday.

The collection is launching in conjunction with the inaugural Zipangu event on Saturday at Brookside at the Rose Bowl in Pasadena, California. Zipangu is being billed as “the largest Japanese music event on U.S. soil devoted to Japanese music and culture,” according to promoters Goldenvoice and Cloud Nine. The One-day festival will feature performances from Ado, ATARASHII GAKKO!, CHANMINA, HANA, MAN WITH A MISSION, Yuki Chiba and 10-FEET.

The collection features two exclusive jacket styles constructed from upcycled Japanese selvedge denim and incorporates custom laser-etched design elements including cherry blossoms, Mount Fuji, Japanese sports cars and Forza Horizon 6 and Zipangu branding. The Zipangu x Forza Horizon 6 Edition jacket is designed with 3M reflective silver taping running along the seams and the interior features a fully sublimated Forza Horizon 6 lining and a spec-designed controller pocket sized for Xbox and PlayStation controllers.

The Sung Kang x Forza Horizon 6 jacket features a soft periwinkle colorway inspired by Tokyo’s evening sky, with hand-sewn 3D cherry blossom denim appliqués and sashiko-style patches laser-etched with game iconography, including Japanese drift references and Forza Horizon 6 and Zipangu logos. Only six of these jackets were made.

“I’ve always believed the things we build should tell a story, not just about where we’re going, but where we come from,” said Sung Kang in a release. “This project brings together everything I love — cars, culture and craftsmanship. It’s something that moves with you, whether you’re on the road or stepping into another world.”

Fans can enter online through Xbox’s Instagram account for their chance to win one of the jackets. Fans attending Zipangu will also have a chance to win jackets on-site.

“Zipangu is about creating cultural connection through music, community and shared experience,” said Goldenvoice vp of regional festivals Ellen Lu in a release. “This collaboration reflects that vision – bringing together sound, style and storytelling in a way that resonates across cultures.”

Head here for more information on Zipangu and the fashion collaboration.

Kodak Black has been arrested for the second time in less than a month, as the Florida rapper (born Bill Kapri) was booked into custody Thursday (May 14) on charges of fleeing law enforcement.

According to Broward County Clerk of Courts jail records, in addition to the charge of fleeing law enforcement — a third-degree felony — Kodak was also charged with resisting or obstructing without violence, which is a misdemeanor.

The charges stem from a Feb. 27 traffic stop in Pompano Beach, Fla., according to NBC6, which viewed the arrest affidavit that claims Kodak “did have knowledge that he had been ordered to stop such vehicle by a duly authorized law enforcement officer, stopped in knowing compliance with such order, and proceeded to flee from deputies.”

Of the Feb. 27 incident, the report states that officers spotted Kodak in a pink Jeep Grand Cherokee and alleged he was stopped and holding up traffic. The “Super Gremlin” rapper then began driving and was eventually pulled over by the officers.

The situation took a turn when an SUV and a minivan pulled up next to the traffic stop, and multiple armed men, allegedly Kodak’s security guards, hopped out. That’s when Kodak got back in his Jeep and drove off, according to deputies.

Officers said Kodak was wearing a San Antonio Spurs jersey at the time of the traffic stop, which matched the wardrobe he was wearing in a post on social media earlier on Feb. 27.

The same pink Jeep Cherokee was allegedly pulled over again hours later, though it was then being driven by another individual. Officers found 16 grams of Oxycodone, three grams of cannabis, more than $26,000 in cash and prized diamond jewelry pieces.

The Sniper Gang rapper was in court for a hearing on Friday (May 15). “When they say everyone was armed, that pulled up, that was his security team. So yes, his security team is armed, they are licensed to carry. It is a Second Amendment state,” Kodak’s attorney, Bradford M. Cohen, reportedly told the judge. “And they all have permits for their firearms.”

Kodak posted a $3,500 bond and was released on Friday following the hearing. He was ordered not to use any weapons while the case remains active.

The rapper ran into legal trouble earlier in the month when he was arrested in Florida on May 6 on drug trafficking charges. He’s accused of trafficking MDMA, the drug more commonly known as Molly or ecstasy.

At the time of that arrest, Kodak’s attorney Cohen explained in a statement to Billboard that it was a “coordinated surrender” to authorities over a November 2025 incident in which police discovered a bottle of prescription cough syrup while searching a car. Cohen claims his client wasn’t in the car at the time, and that there were no fingerprints on the bottle leading back to the rapper.

“We look forward to yet another fruitful resolution to another case that should have never been filed,” Cohen added.

Billboard has reached out to Cohen for comment on the latest incident.

Spotify is raising its prices in Canada once again.

Starting in July, most of the major streaming platform’s premium services will rise $1 to $3 per month.

According to an email sent to premium Spotify Canada users, the price increases vary on account type, with the student account remaining the same price ($6.39), plus tax.

“This change means we can invest more in Premium. We are always working to improve Premium and deliver the best possible experience for you,” the email reads, linking to Canada’s premium offerings.

A Spotify spokesperson tells Billboard Canada: “Occasional updates to pricing across our markets reflect the value that Spotify delivers, enabling us to continue offering the best possible experience and benefit artists,” but doesn’t expand on what exactly triggered the increase.

In recent years, Spotify has often re-evaluated its prices and royalty models, notably making changes to its revenue share payouts, which have de-monetized songs receiving fewer than 1,000 plays per year. In 2026, Billboard Canada reported that Canadian artists earned $544 million in royalties on Spotify.

Recently, the DSP celebrated its 20th anniversary by opening the vault for listeners to see the first-ever song they’ve streamed, along with their most-played tracks and top-streamed artist.

This serves as the first major price hike for the Canadian arm of the streaming platform in nearly two years. During the last rise in 2024, it appeared to be partially inspired by the “streaming tax” implemented in the Canadian Radio-television and Telecommunications Commission (CRTC)’s 2024 decision with the Online Streaming Act.

The Canadian tribunal stated that foreign-owned media companies that operate in Canada and generate over $25 million in revenue would be required to pay 5% of those revenues into Canadian content funds. In response, many streamers — including Spotify, Apple and Amazon — took action to challenge the now-paused legislation that has become a hot button topic in today’s Canadian music industry.

“As we continue to innovate and invest in providing our listeners with greater value than ever before, we occasionally update our prices,” a spokesperson for Spotify told Billboard Canada back in 2024. “We may also adjust our prices to reflect local macroeconomic factors and meet market demands while offering an unparalleled service,” noting that they would not publicly comment further on the “legal challenge against the CRTC streaming tax in Canada.”

Read more here. — Heather Taylor-Singh

Executive of the Week: FACTOR’s Meg Symsyk on Why Supporting Canadian Music Means Supporting Cultural Sovereignty

When it comes to supporting Canadian music, FACTOR’s influence is immeasurable. One of the most crucial funders of art in the country, the non-profit’s impact is seen with its logo across countless acclaimed records and its name shouted out at concerts and award shows. But for president & CEO Meg Symsyk, it’s not just about supporting Canadian music or even Canadian artists: it’s about the sovereignty and identity of the country itself.

“Buying locally is more important than ever because of that consumer awareness and structural support. Canadians need to be encouraged to be more intentional. This last year and a half with the tariffs and the trade wars has put that on everyone’s front burner,” she explains.

The company recently announced $2 million in funding for live music. At a time when streaming has upended the way artists can get paid, supporting live music is more important than ever. It’s part of FACTOR’s mission to support the Canadian-owned music sector and give companies the chance to compete both at home and on the world stage.

Symsyk has been a central voice during the implementation of The Online Streaming Act, also known as Bill C-11, which aims to modernize legislation around media for the first time in a generation. As major foreign-owned streaming services fight against Canadian content funding obligations, Symsyk has been there to ensure the rollout is fair and equitable and that homegrown artists are supported.

Billboard Canada Women In Music’s 2025 Champion Award winner has also made sure that FACTOR lives up to its mandate to champion diversity and inclusion and reflect the Canadian population in its programs and operations.

Alongside Music Publishers Canada (MPC), FACTOR is once again supporting the Women in the Studio National Accelerator, which provides women and non-binary producer-songwriters with technical training, industry networking and career development. FACTOR is also a key Canadian supporter of the international Keychange program, which aims to empower underrepresented genders with training, mentoring and support along with opportunities at festivals and conferences. And Symsyk proudly supported The Beaches at Billboard Women in Music 2026 as they represented Canada and accepted the Global Force award on the international stage.

It’s all part of a career that began at Western University’s entertainment productions office, through radio promotion at Universal Music, and artist marketing for years with labels like Interscope and Geffen and more, then Anthem, where she became a protégé of late industry icon Pegi Cecconi. There, she became part of the “Rush family,” where she worked on the Canadian power trio’s global tour marketing and PR until they stopped touring in 2015, and is now playing a big role in their blockbuster reunion tour alongside her work at FACTOR. That experience culminates in the philosophy she leads with now, understanding the music industry from a bird’s eye view and using that vision to give Canadians a fighting chance.

As this week’s Executive of the Week, Symsyk spoke to Billboard Canada about the initiatives that FACTOR supports, how they fund who they fund, and — maybe most importantly — why they do.

Read our full interview here. — Richard Trapunski

Here’s How Toronto Celebrated Drake’s ‘Iceman’ Release

After nearly a year of teasing, Drake’s latest album, Iceman, is finally here.

A known champion of his hometown, the rapper has spent much of his decades-spanning career boosting his city, Toronto. The rollout for Iceman was no different.

Last night, Drizzy took over the CN Tower, projecting parts of his fourth livestream on the symbol of the city, turning it Iceman blue. From a triple-album drop to a shoutout to Mayor Olivia Chow to a spotlight on Canadian brands, Toronto is Drake’s playground, and we’re just living in it.

A day before Iceman dropped, there were whisperings that Drake was gearing up for some kind of stunt at the CN Tower. The rumours were true.

Last night (May 14), the city monument went icy blue to promote Iceman, while a segment of his fourth livestream was projected onto the building. During the clip, the rapper performed atop the CN Tower, as eager fans gathered in real time to witness the attraction.

Concluding the livestream, Drake erupted a massive fireworks display over the water at Harbourfront Centre that lasted over 10 minutes.

While many fans flocked to the CN Tower, Drake and his team hosted a private release party at the historic castle-like residence and event venue Casa Loma, in collaboration with Yorkville restaurant Powder Room. He was spotted celebrating with rapper Sexxy Red, basketball star Kevin Durant, comedian Shane Gillis and more. 

During the fourth Iceman livestream, one clip showed Drake roaming around inside an empty Toronto City Hall. He even sat at Mayor Olivia Chow’s desk while wearing her chain of office — a ceremonial symbol of authority and duty. To show his gratitude, he left a brief handwritten note for Chow on her desk.

“Thank you my crodi. Olivia Chow!” it reads, referring to the mayor with the Toronto slang term for a close friend or brother (Kendrick Lamar notably used it against him in his diss track, “Euphoria”). The 6 God ended the note with “Iceman 2026,” signing his government name — Aubrey Graham — and “6’er.”

Mayor Chow shared the note to Instagram, with the caption: “You’re welcome Iceman 🧊,” noting that Drake “is a big booster of our city. Happy to host his team at City Hall.”

Read more here. — H.T.S.