Music Notes

Composer/producer Tom Anthony, creator of the classic “Single-Most Favorite Double in the World...” jingle for Doublemint Gum along with other varied pieces of music which drove assorted other memorable ad campaigns from the 1970s and ‘80s, passed away on Friday, April 5, at the age of 88.

Among the many brands Anthony created for were Coca-Cola, Pepsi, Budweiser, Coors, Michelob, Burger King, Lipton, TWA, Wrigley, Cadillac, Chevrolet, Ford, Texaco, Florida Tourism, and Caribbean Tourism. He was an eight-time Clio Award winner, gaining recognition for such work as not only the Doublemint Gum jingle but also Polaroid Camera’s “Get it Now,” Air Jamaica’s “We’re Gonna Win You Over,” “Keep Your Sox On” for the Boston Red Sox, and Diet Pepsi’s “Now You See It. Now You Don’t.” Other well-known jingles he penned included “You Make America Work--This Bud’s For You,” “Say Perrier,” “Ooh, La La, Sasson” and Nabisco’s 1989 Super Bowl hit, “Favorite for Life.” His Coca Cola International “First Time” was sung by Robin Beck and became the number one song in England before going Platinum; it remains a standard today.

Anthony’s Doublemint jingle won an ANDY Award in 1980. In 1983, Advertising Age bestowed upon him its first-ever Award for Music for his Florida Tourism campaign: “When You Need It Bad, We’ve Got It Good,” which aired from 1979-’82. Anthony’s work for Anheuser-Busch garnered a CEBA Award in 1986. That same year The American Association of Advertising Agencies honored him at its annual convention for his outstanding work in music for advertising. 
 
Anthony is survived by his wife of 45 years, Stephanie Fuller-Anthony, and his son Justin Anthony--as well as two younger brothers, Peter and William Anthony.

In lieu of flowers, the family asks that contributions be made to The Environmental Defense Fund.

It's never really the end of the road for Kiss. The hard rock quartet have sold their catalog, brand name and IP to Swedish company Pophouse Entertainment Group in a deal estimated to be over $300 million, it was announced Thursday.

This isn't the first time Kiss has partnered with Pophouse, which was co-founded by ABBA's Björn Ulvaeus. When the band's current lineup — founders Paul Stanley and Gene Simmons as well as guitarist Tommy Thayer and drummer Eric Singer — took the stage at the final night of their farewell tour in December at New York City's famed Madison Square Garden, they ended by revealing digitized avatars of themselves.

The cutting-edge technology was created by George Lucas' special-effects company, Industrial Light & Magic, in partnership with Pophouse. The two companies recently teamed up for the "ABBA Voyage" show in London, in which fans could attend a full concert by the Swedish band in their heyday, as performed by their own digital avatars.

The ways in which Kiss' avatars will be utilized has yet to be announced, but Pophouse CEO Per Sundin says fans can expect a biopic, a documentary and a Kiss experience on the horizon.

An avatar show is scheduled to launch in the second half of 2027 — but don't expect it to look anything like "ABBA Voyage," Sundin told the AP. And fans can expect it to kick off in North America.

Sundin says the goal of the purchase is to expose Kiss to new generations — which he believes sets Pophouse apart from other acquisitions of music catalogs.

"The record companies, the three big ones that are left, they're doing a fantastic job, but they have so many catalogs and they can't focus on everything," he says. "We work together with Universal (Music Group) and Kiss, even though we will own the artists rights, and we're doing it in conjunction with Kiss. But yes, we bought all rights, and that's not something I've seen that clear before."

"I don't like the word acquisition," Gene Simmons tells the AP over Zoom, assuring the band would never sell their catalog to a company they didn't appreciate.

"Collaboration is exactly what it's about. It would be remiss in our inferred fiduciary duty — see what I just did there? — to the thing that we created to abandon it," he continued. "People might misunderstand and think, 'OK, now Pophouse is doing that stuff and we're just in Beverly Hills twiddling our thumbs.' No, that's not true. We're in the trenches with them. We talk all the time. We share ideas. It's a collaboration. Paul (Stanley) and I especially, with the band, we'll stay committed to this. It's our baby."

And within that: no more live touring, for real. "We're not going to tour again as Kiss, period," he says. "We're not going to go put the makeup on and go out there."

Kiss are Pophouse's second investment outside of Sweden: In February, Cyndi Lauper entered a partnership with the company which including the sale of the majority share of her music and a new immersive performance project she's calling an "immersive theater piece" that transports audiences to the New York she grew up in.

The aim is to develop new ways to bring Lauper's music to fans and younger audiences through new performances and live experiences.

"Most suits, when you tell them an idea, their eyes glaze over, they just want your greatest hits," Lauper told the AP at the Pophouse headquarters in Stockholm in February. "But these guys are a multimedia company, they're not looking to just buy my catalog, they want to make something new."

Maria Sherman is an AP music writer

Tennessee Gov. Bill Lee on Thursday signed off on legislation designed to protect songwriters, performers and other music industry professionals against the potential dangers of artificial intelligence.

The move makes Tennessee, long known as the birthplace of country music and the launchpad for musical legends, the first state in the U.S. to enact such measures. Supporters say the goal is to ensure that AI tools cannot replicate an artist's voice without their consent. The bill goes into effect July 1.

"We employ more people in Tennessee in the music industry than any other state," Lee told reporters shortly after signing the bill into law. "Artists have intellectual property. They have gifts. They have a uniqueness that is theirs and theirs alone, certainly not artificial intelligence."

The Volunteer State is just one of three states where name, photographs and likeness are considered a property right rather than a right of publicity.

According to the newly signed statute — dubbed the Ensuring Likeness, Voice, and Image Security Act or "ELVIS Act" — vocal likeness will now be added to that list.

The law also creates a new civil action where people can be held liable if they publish or perform an individual's voice without permission, as well as use a technology to produce an artist's name, photographs, voice or likeness without the proper authorization.

Yet it remains to be seen how effective the legislation will be for artists looking to shield their art from being scraped and replicated by AI without their permission. Supporters like Lee acknowledged that despite the sweeping support from those inside the music industry and unanimous approval from the Tennessee Statehouse, the legislation is untested. Amid ongoing clashes between the GOP supermajority and handful of Democrats, this level of bipartisan agreement is a shocking anomaly.

Many Tennessee musicians say they don't have the luxury to wait for a perfect solution, pointing out that the threats of AI are already showing up on their cellphones and in their recording studios.

"Stuff comes in on my phone and I can't tell it's not me," said country star Luke Bryan. "It's a real deal now and hopefully this will curb it and slow it down."

The Republican governor held the bill signing event at the heart of Nashville's Lower Broadway inside a packed Robert's Western World. The beloved honky tonk is often overflowing with tourists eager to listen to traditional country music and snag a fried bologna sandwich.

Lee joked that he and his wife, Maria, sometimes sneak into Robert's for an incognito date while other lawmakers swapped stories about swinging by the iconic establishment on the weekends.

Naming the newly enacted statute after Elvis Presley wasn't just a nod to one of the state's most iconic residents.

The death of Presley in 1977 sparked a contentious and lengthy legal battle over the unauthorized use of his name and likeness, as many argued that once a celebrity died, their name and image entered into the public domain.

However, by 1984 the Tennessee Legislature passed the Personal Rights Protection Act, which ensured that personality rights do not stop at death and can be passed down to others. It states that "the individual rights … constitute property rights and are freely assignable and licensable, and do not expire upon the death of the individual so protected."

The move was largely seen as critical to protecting Presley's estate, but in the decades since then has also been praised as protecting the names, photographs and likenesses of all of Tennessee's public figures.

Now Tennessee will add vocal likeness to those protections.

Spotify paid out $9 billion in streaming royalties last year, the streaming giant said Tuesday in its latest "Loud and Clear" report.

Spotify's fourth annual report, which originally launched in 2021 following criticism over its lack of transparency, noted record accomplishments, including the highest annual payment from any retailer to the music industry.

"This is everything we know about how much is being paid out, how many artists are achieving different levels of success," says Charlie Hellman, the vice president and global head of music product at Spotify. "So, everyone can have access to the information and be sort of up to date with the state of the industry."

According to the data, 1,250 artists generated over $1 million each in recording and publishing royalties in 2023; 11,600 generated over $100,000 and 66,000 generated over $10,000 — numbers that have almost tripled since 2017.

More than half of those 66,000 artists came from countries where English is not the primary language, the report says, reflecting an increasingly global music landscape.

And "indie" artists — the self-distributed, do-it-yourself acts and those on independent record labels, according to Hellman — accounted for $4.5 billion, half of all royalties paid out by Spotify.

"There are millions of people who've uploaded a song at least once but that doesn't really speak to whether they're an artist, or if they're doing this more as a hobby," Hellman says.

Spotify zooms in on artists that have "at least put up an album's worth of music once they seem to have some indication that they're trying to build a fan base." He estimates there are "about 225,000 professionally aspiring artists" on the platform.

"They have a little bit of a following. They might, you know, have gigs listed on Spotify or things like that," he says.

In December, Spotify announced it was axing 17% of its global workforce, the music streaming service's third round of layoffs in 2023 as it moved to slash costs while focusing on becoming profitable.

The previous month, Spotify announced it would eliminate payments for songs with less than 1,000 annual streams, starting in 2024.

"Songs that generate less than a thousand streams in a year would be generating pennies, a few cents in royalties," Hellman explains. "So what we're seeing was that there was an increasing amount of uploaders that had $0.03, $0.08, $0.36 sitting there."

For those DIY artists, there's a minimum threshold to withdraw money from a distributor — $5.35 at DistroKid and $1 at TuneCore, two such distributors — and Hellman argues the withdrawal fees would eclipse the royalties.

Spotify — and most other streaming services — pay royalties to the rights holders of the music on its platform, a number which is determined by "streamshare." That's calculated by adding up how many times music owned or controlled by a particular rights holder was streamed and dividing by the total number of streams in that market.

In short: Larger rights holders have a larger percentage of the market share. And a listener streaming an artist 25% of the time does not mean the act receives 25% of the listener's subscription fee.

"All those pennies sitting in bank accounts all over the place was siphoning money away from artists that were really doing this, as an aspiring professional," says Hellman of the decision. "And so, those royalties are now being put in the pot so that they can be redirected to artists that are getting more than a thousand streams a year."