Universal Music Group (UMG) and the Beastie Boys have both reached confidential settlements to end lawsuits in which they accused restaurant chain Chili’s of using their music in social media advertisements without permission.
Two court filings on Wednesday (May 21) informed federal judges that Chili’s owner Brinker International agreed to settlements with both UMG and the Beastie Boys during a mediation session two weeks earlier. The terms of the settlements have not been revealed, as is typical in these types of lawsuits.
UMG and the Beastie Boys both sued Brinker in 2024, alleging Chili’s featured their copyrighted music in advertisements on TikTok, Instagram and other social media platforms without buying so-called “synch” licenses.
While social media platforms provide huge libraries of licensed music for users to add to their videos, a brand must purchase a special synch license if it wants to include a song in any commercial or promotional content.
The Beastie Boys, who are famously averse to their music appearing in advertisements, claimed in a July lawsuit that Brinker used their iconic 1994 song “Sabotage” in a promotional video without permission.
To add insult to injury, the Beastie Boys said this Chili advertisement also showed three men in “70s-style” wigs, fake mustaches and sunglasses carrying out a “robbery” of food ingredients from a Chili’s. The rap trio claimed these visuals clearly evoked the “Sabotage” music video, which featured Adam “Ad-Rock” Horovitz, Michael “Mike D” Diamond and the late Adam “MCA” Yauch in similar attire.
UMG followed up with its own lawsuit this past October, alleging that dozens of Chili’s social media advertisements used unlicensed music from the label. UMG said the restaurant company’s wrongdoing extended to more than 60 songs by artists including Ariana Grande, Justin Bieber, Mariah Carey, Lady Gaga, Snoop Dogg, Lana Del Rey, ABBA, Luke Bryan, Travis Scott, Bruno Mars, Lil Nas X, Earth Wind & Fire and The Weeknd.
According to Wednesday’s court filings, both UMG and the Beastie Boys have reached agreements “in principle” to end their claims against Brinker. The settlement deals are currently being finalized, and both lawsuits are expected to be closed by early July.
A UMG rep declined to comment on the settlement news. Spokespeople for the Beastie Boys and Brinker did not immediately return requests for comment.
Numerous brands have faced lawsuits in recent years from music companies and artists over the use of copyrighted songs in social media ads. All three major labels sued drink maker Bang Energy for this in 2021, leading to closely-watched judgments in favor of UMG and Sony.
In July, Kobalt and other music publishers brought lawsuits against more than a dozen NBA teams over the use of songs in social media videos, leading to a bevy of settlements earlier this year. And just last month, a Detroit-area Ford dealership settled claims that it unlawfully featured Eminem’s “Lose Yourself in TikTok videos.
For his return to The Tonight Show Starring Jimmy Fallon on Wednesday night (May 21), Jin transformed the stage into a giant bed — and Billboard has the exclusive preview photos to prove it.
The BTS member made himself at home in Studio 6B, getting extra cozy for his performance of “Don’t Say You Love Me,” the lead single from his just-released second solo EP Echo. Jin dropped the seven-track project — the follow-up to his November debut solo EP Happy — on Friday, May 16.
In addition to his comfy performance, Jin also sat down for an interview with Fallon — just like he did for his first solo appearance on The Tonight Show late last year. And this time, he turned the tables on Fallon too, jumping behind the desk to grill the late-night host.
Jin’s superstar group BTS — also comprised of SUGA, j-hope, RM, Jimin, V and Jung Kook — first visited The Tonight Show back in 2018 for a performance of the Billboard Hot 100 No. 11 hit “Idol” and “I’m Fine.” In 2020, the boys made multiple Tonight Show appearances — including a couple of virtual performances on the show during the COVID-19 pandemic — before returning again in 2021 for performances of their No. 1 hits “Butter” and “Permission to Dance.”
Back in March, Jin’s BTS bandmate j-hope made his solo Tonight Show debut and got similarly cozy, rocking a pair of fluffy bunny slippers with his jeans-and-black-blazer ‘fit.
To watch Jin’s full performance and interview, tune in to The Tonight Show Starring Jimmy Fallon on Wednesday night (May 21) at 11:35 p.m. ET on NBC, or streaming on Peacock.
Blake Shelton’s first studio album in four years, For Recreational Use Only, debuts in the top 10 on Billboard’s Top Album Sales (No. 6), Top Country Albums (No. 8) and Independent Albums (No. 8) charts (all dated May 24). It’s his first studio set since Body Language, which was released in May of 2021.
The new project is also his first with BBR Music Group/BMG Nashville (via Ten Point Productions/Wheelhouse Records), after a career with Warner Music Nashville. Shelton signed to BBR/BMG Nashville in September 2024.
On Top Country Albums, the set lands Shelton his 18th top 10 – all of which have come since 2001. Notably, this century (2000-present), only six total acts have tallied at least 18 top 10s: Shelton and Tim McGraw have 18 each, while Kenny Chesney, Alan Jackson, Toby Keith and George Strait are all tied with 20 each.
Over on Top Album Sales, For Recreational Use Only marks Shelton’s 18th top 10-charting set (it launches with 10,500 copies sold in the United States in the week ending May 15, according to Luminate).
Elsewhere in the top 10 of the all-genre Top Album Sales chart, five more titles debut in the region, including the No. 1 debut from Sleep Token’s Even in Arcadia.
Billboard’s Top Album Sales chart ranks the top-selling albums of the week based only on traditional album sales. The chart’s history dates back to May 25, 1991, the first week Billboard began tabulating charts with electronically monitored piece count information from SoundScan, now Luminate. Pure album sales were the sole measurement utilized by the Billboard 200 albums chart through the list dated Dec. 6, 2014, after which that chart switched to a methodology that blends album sales with track equivalent album (TEA) units and streaming equivalent album (SEA) units.
As earlier noted, Sleep Token’s Even in Arcadia debuts at No. 1 on Top Album Sales. The set, the band’s first leader, launches with 73,500 copies sold – the group’s best sales week ever. Kali Uchis’ Sincerely, debuts at No. 2 with 38,000 copies sold – marking the third top 10 for the singer. P1Harmony collect its fourth top 10 as DUH! debuts at No. 3 with 22,000 sold. The Weeknd’s chart-topping Hurry Up Tomorrow rallies 35-4 with 15,000 sold (up 540%) after new vinyl and CD editions of the album were released. Forrest Frank rounds out the top 10, and secures his second top 10 (and first top five set) as Child of God II debuts at No. 5 with 12,000 sold.
PARTYNEXTDOOR and Drake’s $ome $exy $ongs 4 U reenters the chart at No. 7 with 9,000 sold (up 8,558%) after its vinyl release, Kendrick Lamar’s former leader GNX falls 7-8 (7,000; up 5%), Ghost’s chart-topping Skeletá slips 5-9 (6,500; down 37%) and Arcade Fire’s Pink Elephant bows at No. 10 with 6,000 sold (notching the band its sixth top 10).
Content warning: this story includes discussion of self-harm and suicide. If you are in crisis, please call, text or chat with the Suicide and Crisis Lifeline at 988, or contact the Crisis Text Line by texting TALK to 741741.
A judge in Florida just rejected a motion to dismiss a lawsuit alleging that the chatbot startup Character.AI — and its closely tied benefactor, Google — caused the death by suicide of a 14-year-old user, clearing the way for the first-of-its-kind lawsuit to move forward in court.
The lawsuit, filed in October, claims that recklessly released Character.AI chatbots sexually and emotionally abused a teenage user, Sewell Setzer III, resulting in obsessive use of the platform, mental and emotional suffering, and ultimately his suicide in February 2024.
In January, the defendants in the case — Character.AI, Google, and Character.AI cofounders Noam Shazeer and Daniel de Freitas — filed a motion to dismiss the case mainly on First Amendment grounds, arguing that AI-generated chatbot outputs qualify as speech, and that “allegedly harmful speech, including speech allegedly resulting in suicide,” is protected under the First Amendment.
But this argument didn’t quite cut it, the judge ruled, at least not in this early stage. In her opinion, presiding US district judge Anne Conway said the companies failed to sufficiently show that AI-generated outputs produced by large language models (LLMs) are more than simply words — as opposed to speech, which hinges on intent.
The defendants “fail to articulate,” Conway wrote in her ruling, “why words strung together by an LLM are speech.”
The motion to dismiss did find some success, with Conway dismissing specific claims regarding the alleged “intentional infliction of emotional distress,” or IIED. (It’s difficult to prove IIED when the person who allegedly suffered it, in this case Setzer, is no longer alive.)
Still, the ruling is a blow to the high-powered Silicon Valley defendants who had sought to have the suit tossed out entirely.
Significantly, Conway’s opinion allows Megan Garcia, Setzer’s mother and the plaintiff in the case, to sue Character.AI, Google, Shazeer, and de Freitas on product liability grounds. Garcia and her lawyers argue that Character.AI is a product, and that it was rolled out recklessly to the public, teens included, despite known and possibly destructive risks.
In the eyes of the law, tech companies generally prefer to see their creations as services, like electricity or the internet, rather than products, like cars or nonstick frying pans. Services can’t be held accountable for product liability claims, including claims of negligence, but products can.
In a statement, Tech Justice Law Project director and founder Meetali Jain, who’s co-counsel for Garcia alongside Social Media Victims Law Center founder Matt Bergman, celebrated the ruling as a win — not just for this particular case, but for tech policy advocates writ large.
“With today’s ruling, a federal judge recognizes a grieving mother’s right to access the courts to hold powerful tech companies — and their developers — accountable for marketing a defective product that led to her child’s death,” said Jain.
“This historic ruling not only allows Megan Garcia to seek the justice her family deserves,” Jain added, “but also sets a new precedent for legal accountability across the AI and tech ecosystem.”
Character.AI was founded by Shazeer and de Freitas in 2021; the duo had worked together on AI projects at Google, and left together to launch their own chatbot startup. Google provided Character.AI with its essential Cloud infrastructure, and in 2024 raised eyebrows when it paid Character.AI $2.7 billion to license the chatbot firm’s data — and bring its cofounders, as well as 30 other Character.AI staffers, into Google’s fold. Shazeer, in particular, now holds a hugely influential position at Google DeepMind, where he serves as a VP and co-lead for Google’s Gemini LLM.
Google did not respond to a request for comment at the time of publishing, but a spokesperson for the search giant told Reuters that Google and Character.AI are “entirely separate” and that Google “did not create, design, or manage” the Character.AI app “or any component part of it.”
In a statement, a spokesperson for Character.AI emphasized recent safety updates issued following the news of Garcia’s lawsuit, and said it “looked forward” to its continued defense:
It’s long been true that the law takes time to adapt to new technology, and AI is no different. In today’s order, the court made clear that it was not ready to rule on all of Character.AI ‘s arguments at this stage and we look forward to continuing to defend the merits of the case.
We care deeply about the safety of our users and our goal is to provide a space that is engaging and safe. We have launched a number of safety features that aim to achieve that balance, including a separate version of our Large Language Model model for under-18 users, parental insights, filtered Characters, time spent notification, updated prominent disclaimers and more.
Additionally, we have a number of technical protections aimed at detecting and preventing conversations about self-harm on the platform; in certain cases, that includes surfacing a specific pop-up directing users to the National Suicide and Crisis Lifeline.
Any safety-focused changes, though, were made months after Setzer’s death and after the eventual filing of the lawsuit, and can’t apply to the court’s ultimate decision in the case.
Meanwhile, journalists and researchers continue to find holes in the chatbot site’s upxdated safety protocols. Weeks after news of the lawsuit was announced, for example, we continued to find chatbots expressly dedicated to self-harm, grooming and pedophilia, eating disorders, and mass violence. And a team of researchers, including psychologists at Stanford, recently found that using a Character.AI voice feature called “Character Calls” effectively nukes any semblance of guardrails — and determined that no kid under 18 should be using AI companions, including Character.AI.
More on Character.AI: Stanford Researchers Say No Kid Under 18 Should Be Using AI Chatbot Companions
The post Judge Slaps Down Attempt to Throw Out Lawsuit Claiming AI Caused a 14-Year-Old’s Suicide appeared first on Futurism.
PinkPantheress delivered her acclaimed nine-track Fancy That mixtape this month, and fans are hoping she’ll get back on the road soon to tour around the new project.
Pink has been critiqued as a performer in the past, and she sat down with Capital Buzz where she agreed that the criticism has been “fair” and that she doesn’t make music for the stage.
“I don’t do music to perform, I think is the thing, and that’s perfectly fine,” she said around the 23:55 mark of the interview. “I think that people are probably used to and also expect a singer to be able to perform well. And I don’t blame anyone for thinking that. I’m not the best performer. Again, it’s one of those things where I’m like ‘I’m going to get better.’”
PinkPantheress continued: “But the thing is, no amount of rehearsals can make a difference when you’re in front of like 10,000, 50,000, 100,000. No amount of rehearsal you can do, and as somebody that has got very bad stage fright… I think one of the things people say is like, ‘Oh, I think her performances are a hindrance to her career.’ And I do think there is a level of if you want to make it as like a big, big pop-diva.”
The British artist is at peace in more intimate settings and doesn’t think the performance aspect is a hindrance to her blossoming career. Pink also caught up with Billboard earlier in May, which saw her reveal that touring with Olivia Rodrigo made her learn that she’s “not an arena artist.”
“Watching her and how she combats an arena and how she actually does the arena made me realize, ‘Wow, some people are arena artists and some people are not.’ I’m not an arena artist,” she admitted. “That’s something I learned about myself. What I learned from her is there are ways you can approach an arena and interact with people in the up theres or the far backs. She did that and is amazing at it.”
PinkPantheress added: “What happened when I watched her was, I saw my own failing and my own incapabilities, and I was like, ‘I’m not an arena artist.’ That’s not for a lack of trying. It just made me realize there are some things in life as an artist you’re told you should try one day — but for me, I think I’m one of those artists where I’m comfortable is where I always strive.”
The 24-year-old opened for Rodrigo for six or seven shows before leaving the tour for personal reasons related to her health in 2024.
As for Fancy That, Pink heavily tapped into the drum and bass genre and pulled on inspiration from Basement Jaxx and Calvin Harris to complete the cohesive work, which she thinks is her sonic magnum opus.
Stream the mixtape below.
Billboard got to sit courtside at the New York Liberty’s WNBA opening game and championship ceremony, and we take you inside what you missed on the big night, including an interview with Jonquel Jones.
Are you excited for this WNBA season? Let us know in the comments!
Narrator:
Billboard was courtside for the New York Liberty’s opening game of the WNBA season. See them celebrate their first championship in Billboard All Access. The New York Liberty showed up in their stylish ‘fits, ready to celebrate along with their famous mascot, Ellie the Elephant. The team celebrated their first championship in franchise history with diamond-encrusted championship rings and by raising the franchise’s first championship banner. Finals MVP Jonquel Jones shared what it was like to celebrate in her native country of the Bahamas. All this happened before their opening game tipped off against the Las Vegas Aces. Ellie the Elephant transformed into “Ellie Minaj” and entertained the crowd with her Nicki Minaj-themed halftime show.