In this lawyer reacts episode of the Top Music Attorney Podcast, Entertainment Attorney, Miss Krystle dives deep into the controversial acquisition of Downtown Music Holdings by Virgin Music Group under Universal Music Group for $775 million. This deal, set to close next year, raises significant concerns about the monopolization of the music industry. Miss Krystle analyzes how this acquisition impacts independent artists, especially as Universal gains a stronger foothold in the independent distribution space. With Downtown’s portfolio—including CD Baby, Songtrust, and more—now under Universal’s control, Miss Krystle explores the potential risks for artists relying on these platforms for distribution, rights management, and royalty collection.

As a passionate advocate for independent musicians, Miss Krystle doesn’t hold back in calling out the exploitation happening at every level of the industry. From predatory distributor practices to alarming terms in contracts like those recently rolled out by TuneCore for its AI program, Miss Krystle highlights how these developments could reshape the landscape for creators. 

Is This The END For Independent Music Platforms? | Lawyer Reacts

Legal Disclaimer: The information, ideas, and suggestions in this video are not intended to be legal advice. Before following any suggestions contained in this video, you should consult your personal attorney. The speaker shall not be liable or responsible for any loss or damage allegedly arising as a consequence of your use or application of any information or suggestion in this video. Pursuant to the fair use doctrine under the 1978 Copyright Act, a copyrighted work owned by another may be used for criticism, commentary, news reporting, and educational purposes. The use of the livestream contained in this video falls within the fair use doctrine.

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#TunecoreExposed #LawyerReacts #BennJordan

In this episode "This is OUTRAGEOUS..." of the Top Music Attorney Podcast, Entertainment Attorney, Miss Krystle breaks down TuneCore's new AI protection program and the surprising terms hidden in the fine print. While it promises legal action against unauthorized use and shared AI profits, the agreement grants TuneCore broad, lifetime rights to your music. Miss Krystle explores the potential risks and what this could mean for independent artists.

Joined by Benn Jordan from the episode 191: Opt-In To AI Protection? Let's Lawyer Up First on Benn Jordan's Live Channel, they take a closer look at the terms and their impact on creators. If you're considering opting in, find out why this program might not be as artist-friendly as it seems and what to watch out for before agreeing. 

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Legal Disclaimer: The information, ideas, and suggestions in this video are not intended to be legal advice. Before following any suggestions contained in this video, you should consult your personal attorney. The speaker shall not be liable or responsible for any loss or damage allegedly arising as a consequence of your use or application of any information or suggestion in this video. Pursuant to the fair use doctrine under the 1978 Copyright Act, a copyrighted work owned by another may be used for criticism, commentary, news reporting, and educational purposes. The use of the livestream contained in this video falls within the fair use doctrine.

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In this episode of the Top Music Attorney Podcast, Entertainment Attorney, Miss Krystle dives deep into one of the most critical decisions for music producers: how to set your project rates. Underbilling is a trap many fall into, driven by the desire to help and be "fair." But at what cost? Miss Krystle shares real-world examples of why understanding the true value of your time and skills is crucial for survival in the industry. From determining whether you should ask for backend profits to figuring out if you're charging enough to cover your time, gear, and creativity—it's time to stop leaving money on the table.

Don't wait until it's too late. Protect your time, your creativity, and your business with smarter pricing strategies. Miss Krystle outlines how to make sure you’re getting paid what you're worth, whether you're a producer, mixer, or engineer every time. Whether you’re working on a flat fee or negotiating for backend points, make sure you're covered legally with contracts. If you're not factoring in administrative time or using your skills to add more value to your clients, you're losing money. Watch now and take control of your career before it’s too late.

How to Set Your Rates as a Producer, Mixer, or Engineer - Never Feel Underpaid Again

Legal Disclaimer: The information, ideas, and suggestions in this video are not intended to be legal advice. Before following any suggestions contained in this video, you should consult your personal attorney. The speaker shall not be liable or responsible for any loss or damage allegedly arising as a consequence of your use or application of any information or suggestion in this video. Pursuant to the fair use doctrine under the 1978 Copyright Act, a copyrighted work owned by another may be used for criticism, commentary, news reporting, and educational purposes. The use of the livestream contained in this video falls within the fair use doctrine.

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Check out some of my cover songs:    • Miss Krystle Cover Songs  

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Legal Disclaimer: The information, ideas, and suggestions in this video are not intended to be legal advice. Before following any suggestions contained in this video, you should consult your personal attorney. The speaker shall not be liable or responsible for any loss or damage allegedly arising as a consequence of your use or application of any information or suggestion in this video. Pursuant to the fair use doctrine under the 1978 Copyright Act, a copyrighted work owned by another may be used for criticism, commentary, news reporting, and educational purposes. The use of the livestream contained in this video falls within the fair use doctrine.

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❤ Get my new song and show support here: https://www.misskrystle.com/

In this episode of the Top Music Attorney Podcast, Entertainment Attorney, Miss Krystle, and Show/Music Producer, That Orko the power of the direct-to-fan model and how artists can utilize it to generate revenue from their music outside of traditional platforms. They dive into the strategies Miss Krystle used to promote her new song "Say To Me," which hadn't even been officially released on music platforms yet. By focusing on a more direct approach, Miss Krystle shares how she’s already making more money through limited reach than months of streaming revenue could generate. They also highlight how incorporating direct-to-fan songs into platforms like Spotify can further enhance an artist’s marketing efforts.

As an independent artist and music attorney, Miss Krystle brings a unique perspective, blending practical music marketing tips with personal experience. She reflects on her journey of stepping back from music to focus on her law firm and the Top Music Attorney YouTube channel, now nearing 100,000 subscribers. This episode offers a fresh perspective on marketing, engaging fans, and navigating the ever-evolving music industry. Tune in to discover how Miss Krystle integrates these strategies and shows her audience the best ways to promote their music effectively.

How I Made More In 2 Days With Direct To Fan Than I Would Have In 2 Months On Spotify

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Legal Disclaimer: The information, ideas, and suggestions in this video are not intended to be legal advice. Before following any suggestions contained in this video, you should consult your personal attorney. The speaker shall not be liable or responsible for any loss or damage allegedly arising as a consequence of your use or application of any information or suggestion in this video. Pursuant to the fair use doctrine under the 1978 Copyright Act, a copyrighted work owned by another may be used for criticism, commentary, news reporting, and educational purposes. The use of the livestream contained in this video falls within the fair use doctrine.

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In this lawyer reacts episode of the Top Music Attorney Podcast, Entertainment Attorney, Miss Krystle Provides and update to the lawsuit Miley Cyrus is facing over her song "Flowers," which allegedly infringes on Bruno Mars' hit "When I Was Your Man." Miss Krystle breaks down the details of interpolation, explaining how it differs from sampling and cover songs, and why it's central to this case. The complaint was filed by Tempo Music Investments, a company that owns a portion of the copyright for Bruno Mars' song, claiming there are significant similarities between the two tracks. Miss Krystle also dives into the business side of music ownership and how major labels and investment firms use infringement claims as a strategy.

Miss Krystle also examines how copyright infringement cases hinge on proving access, substantial similarities, and intent. She explains how these types of cases can result in massive payouts for plaintiffs, with statutory damages potentially reaching up to $150,000 per infringement. The lawsuit could force Miley Cyrus to publicly reveal the inspiration behind her song, sparking even more interest in the case. Tune in for a detailed breakdown and analysis, plus insights on how artists can protect their work in the ever-evolving music industry.

This update exposes the "fatal flaw" Mileys legal team is suggesting in their motion to dismiss with Miss Krystle giving her court document breakdown.

Legal Disclaimer: The information, ideas, and suggestions in this video are not intended to be legal advice. Before following any suggestions contained in this video, you should consult your personal attorney. The speaker shall not be liable or responsible for any loss or damage allegedly arising as a consequence of your use or application of any information or suggestion in this video. Pursuant to the fair use doctrine under the 1978 Copyright Act, a copyrighted work owned by another may be used for criticism, commentary, news reporting, and educational purposes. The use of the livestream contained in this video falls within the fair use doctrine.

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In this episode of the Top Music Attorney Podcast, Entertainment Attorney Miss Krystle provides an update on Limp Bizkit’s $200 million lawsuit against Universal Music Group (UMG). After the band alleged decades of unpaid royalties despite their massive success, UMG has now filed a motion to dismiss, taking an aggressive and hard stance against the claims. Miss Krystle analyzes the motion, breaks down the legal arguments presented by UMG, and explores what this means for Limp Bizkit and other artists in similar battles.

Legal Disclaimer: The information, ideas, and suggestions in this video are not intended to be legal advice. Before following any suggestions contained in this video, you should consult your personal attorney. The speaker shall not be liable or responsible for any loss or damage allegedly arising as a consequence of your use or application of any information or suggestion in this video. Pursuant to the fair use doctrine under the 1978 Copyright Act, a copyrighted work owned by another may be used for criticism, commentary, news reporting, and educational purposes. The use of the livestream contained in this video falls within the fair use doctrine.

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In this episode of the Top Music Attorney Podcast, Entertainment Attorney Miss Krystle discusses a $500 million lawsuit against TuneCore and its parent company Believe Music by major record labels, including Universal Music Group (UMG), Capitol Records, and more. She draws parallels to her own legal battle with the distributor and highlights concerns over record labels using predatory tactics to profit from copyright infringement, with TuneCore and other platforms unintentionally distributing infringing music. Miss Krystle also explores the broader trend of major labels filing lawsuits against platforms like Suno, Udio, and the Internet Archive's Wayback Machine for copyright violations, using statutory damages as a weapon to target businesses rather than artists.

Legal Disclaimer: The information, ideas, and suggestions in this video are not intended to be legal advice. Before following any suggestions contained in this video, you should consult your personal attorney. The speaker shall not be liable or responsible for any loss or damage allegedly arising as a consequence of your use or application of any information or suggestion in this video. Pursuant to the fair use doctrine under the 1978 Copyright Act, a copyrighted work owned by another may be used for criticism, commentary, news reporting, and educational purposes. The use of the livestream contained in this video falls within the fair use doctrine.

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In this episode of the Top Music Attorney Podcast, Entertainment Attorney, Miss Krystle dives into a heated controversy involving Drake's claim that Kendrick Lamar's hit "Not Like Us" was artificially inflated through the use of bots and manipulated streams. Drake's pre-action filing, filed through his company Frozen Moments LLC, accuses Universal Music Group and Spotify of conspiring to boost the song’s success unfairly. Miss Krystle breaks down the court document against UMG, shedding light on the allegations and exploring whether there’s evidence to support the claim. The discussion also touches on Spotify’s history of cracking down on fake streams, raising questions about potential hypocrisy within the platform’s policies.

Miss Krystle dissects Spotify’s partnership with Universal, which allegedly prioritizes major-label artists, and the ripple effects on independent creators. With over 900 million streams and Grammy nominations, the song’s success has sparked debates about legitimacy and fairness in the streaming era. 

Legal Disclaimer: The information, ideas, and suggestions in this video are not intended to be legal advice. Before following any suggestions contained in this video, you should consult your personal attorney. The speaker shall not be liable or responsible for any loss or damage allegedly arising as a consequence of your use or application of any information or suggestion in this video. Pursuant to the fair use doctrine under the 1978 Copyright Act, a copyrighted work owned by another may be used for criticism, commentary, news reporting, and educational purposes. The use of the livestream contained in this video falls within the fair use doctrine.

In this episode of the Top Music Attorney Podcast, Entertainment Attorney, Miss Krystle provides a lawyer's reaction to the Drink Champs interview with producer/artist/entrepreneur Ryan Leslie, where Leslie offers invaluable advice for independent musicians. He emphasizes the direct to fan approach, discussing how being independent can be more lucrative than signing with a record label. Miss Krystle highlights key takeaways from the interview, including Leslie's revolutionary methods like selling tickets directly and controlling his own merchandise. This approach has allowed Leslie to maintain control over his career and maximize profits, showing independent artists the benefits of doing the same.

Miss Krystle gives insights from over a decade of experience in the music business. She explains how Leslie’s strategies, like reserving tickets and on-demand merchandise, can be applied to any artist's career to improve their financial outcomes. The episode also covers topics like data-driven decisions in the music industry and how artists can build businesses around their art. Whether you're a new artist or seasoned pro, this is a must-watch for those looking to take control of their careers.

Legal Disclaimer: The information, ideas, and suggestions in this video are not intended to be legal advice. Before following any suggestions contained in this video, you should consult your personal attorney. The speaker shall not be liable or responsible for any loss or damage allegedly arising as a consequence of your use or application of any information or suggestion in this video. Pursuant to the fair use doctrine under the 1978 Copyright Act, a copyrighted work owned by another may be used for criticism, commentary, news reporting, and educational purposes. The use of the livestream contained in this video falls within the fair use doctrine.