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Oh wow!!!!!! Empire can no longer evade service and now has until April 29, 2026 to respond

PSA: UPDATE 3:25-CV-02363-X
Empire Distribution Inc has officially been served through the California Secretary of State today Wednesday April 8, 2026 at 11:56am pacific time the clock has started tick-tock 🕰️

BREAKING: JUDGE BRANTLEY STARR MOOTS SPOTIFY & VYDIA MOTIONS TO DISMISS IN $370M+ TNEG COPYRIGHT BATTLE OVER “TELL ME WHY” FEAT MO3

TNEG drops "nuclear" Exhibit N with BMI emails, backdated metadata & ISRC blacklist proof as defendants file zero evidence

DALLAS, TX (April 2, 2026) — In a stunning procedural blow to music industry titans Spotify, Empire Distribution, and Vydia, U.S. District Judge Brantley Starr has swept aside their attempts to dismiss a massive federal lawsuit, finding their motions "moot" in the wake of an evidentiary "nuclear strike" (Dkt. 48) by Tulsa Nights Entertainment Group Inc (TNEG).

see Tulsa Nights Entertainment Group Inc. v. Empire Distribution Inc. et al, Case No. 3:25-CV-02363-X (N.D. Tex)

The ruling (Dkt. 49, 50) effectively ends the defendants' primary strategy of labeling the case "novel" or "threadbare." Instead, the court is now staring at a federal docket overflowing with TNEG’s "hardcore proof," while the defendants have yet to file a single document to back their claims of ownership.

The $123 Million "Per Copyright" Math

The scale of the litigation has officially shifted into the billions. TNEG’s Amended Complaint (Dkt. 48) clarifies a devastating financial reality: the sought damages of $123,607,000 are per copyright.

With TNEG asserting three distinct copyrights (Sound Recording, Performing Arts, and Visual Arts) for the MO3 featured hit "Tell Me Why," the base claim for a single song sits at over $370 million. When applied to the 200+ songs in Exhibit-N each carrying its own triple copyright protection the total exposure for the defendants across 600 claims reaches a stratosphere rarely seen in intellectual property history.

"Exhibit N" and the Metadata Heist”

While the defendants argued the case was a "novel" legal theory, TNEG turned the docket into a digital crime lab. The now-public Master Exhibit Index (A–N)provides a five-year paper trail that the industry giants have failed to counter:

The "Smoking Gun" Exhibit N contains BMI reversion emails showing the BMI had to manually strip unauthorized publishers (including "Songs of Vydia, Vydia Music Publishing and Empire Strikes Back") from 200+ songs back to their original registrations to restore TNEG’s rights.

Digital Sabotage TNEG has provided evidence of an "MCE" ISRC Registrant Blacklist, where a "410 Gone" status was used to "block" the label while its metadata was hijacked.

The Backdate Fraud Screenshots show Spotify metadata backdating "Tell Me Why" to January 1, 2020 months before the song was even created on June 8, 2020 a move TNEG calls a "coordinated hit" to facilitate royalty diversion.

The "Silence of the Goliaths"

The most striking feature of the case remains the "Proof Gap." While TNEG has filed everything from $4,000 MO3 payment receipts to ProTools stems and RIAA registrant assignments, Spotify, Vydia, and Empire have filed zero evidence.

By mooting the Motions to Dismiss, Judge Starr has signaled that "paperwork arguments" are no longer enough. The defendants must now explain, under oath, how a June 2020 song ended up with a January 2020 release date and why they ignored the statutory 14-day reinstatement window mandated by the DMCA after a proper counter DMCA notice

What’s Next?
With TNEG electing for a bench trial, the case bypasses potential juror confusion and moves straight to a judicial audit of the digital music supply chain. As the "Safe Harbor" shield crumbles, the industry is bracing for what may become the "Tulsa Nights Precedent" a total DMCA reckoning for how major labels and big tech handles independent metadata.

Law360https://www.law360.comTulsa Nights Entertainment Group Inc v. Empire Distribution Inc et al

All claims drawn from public court filings (Dkt. 48-50) Defendants have not filed any evidence to back or support themselves.

story by- orangeskies_0011

BREAKING NEWS!

EMPIRE IS OFFICIALLY IN DEFAULT STATUS. EMPIRE WAS SERVED THROUGH THE CALIFORNIA SECRETARY OF STATE ON JAN. 22, 2026.

AND KLARIS LAW, WHO ARE SPOTIFY’S ATTORNEYS, COMMITTED PERJURY, FORGERY, AND FRAUD OF THE COURT ON THEIR 02/11/2026 FILING TO HI-JACK THE DOCKET.

SPOTIFY WAS SERVED ON DECEMBER 23, 2025; HAS BEEN IN DEFAULT SINCE JAN. 13, 2026; AND RETAINED KLARIS LAW TO REPRESENT THEM, WHO FAILED TO FILE THEIR REQUIRED STIPULATION BY JAN. 13, 2026.

YET, INSTEAD, THEY TRIED TO HI-JACK THE DOCKET TO SNEAK ON THE DOCKET FROM DEFAULT—BY KLARIS LAW BEING AN OUT-OF-STATE FIRM THAT WOULD REQUIRE SPOTIFY TO HAVE LOCAL COUNSEL IN TEXAS TO ASSIST.

INSTEAD, WHAT KLARIS LAW DID WAS TAKE VYDIA (WHO IS REPRESENTED BY THE FOX ROTHSCHILD FIRM), THE JAN. 14, 2026 FILED STIPULATION, AND CREATED A FALSE & FRAUDULENT "FRANKENSTEIN OF A MONSTER" STIPULATION ON 02/11/2026 THAT READ AS FOLLOWS:

IN THE UNITED STATES DISTRICT COURT
NORTHERN DISTRICT OF TEXAS
DALLAS DIVISION

TULSA NIGHTS ENTERTAINMENT
GROUP, INC.,
Plaintiff,

v.

EMPIRE DISTRIBUTION INC., ET AL. §
Defendants.

Civil Action No. 3:25-cv-02363-X-BW

STIPULATION TO EXTEND TIME FOR DEFENDANT VYDIA, INC. TO
ANSWER OR RESPOND TO COMPLAINT

Plaintiff Tulsa Nights Entertainment Group, Inc. (“Plaintiff”) and Defendant Spotify USA Inc. (“Defendant”), hereby stipulate as follows:

WHEREAS, Defendant was served with the Complaint on or about December 24, 2025;

WHEREAS, Defendant currently has until January 14, 2026, to answer or respond to Plaintiff’s Complaint;

WHEREAS, Defendant has requested, and Plaintiff has consented to, an additional 44 days from January 14, 2026, for Defendant’s answer or response to Plaintiff’s Complaint;

WHEREAS, an additional 44 days for Defendant’s answer or response to Plaintiff’s Complaint will not alter the date of any event or any deadline already fixed by Court order;

Stipulation Extending Time to Answer or Respond to Complaint 1
Case 3:25-cv-02363-X-BW Document 19
Filed 02/11/26 Page 2 of 2 PageID 253

NOW, THEREFORE, IT IS HEREBY STIPULATED by and between Plaintiff and Defendant, through their respective counsel, that Defendant shall answer or otherwise respond to Plaintiff’s Complaint by February 27, 2026.

Respectfully submitted,

This document was filed by KLARIS LAW on 02/11/2026. There are so many red flags with this filing: they forged TULSA NIGHTS ENTERTAINMENT GROUP INC. attorneys' signature on the document, who adamantly stated that they did not agree to what is in that stipulation, nor did they file that stipulation, and will be moving to strike the filing, sanction KLARIS LAW, and move for FULL DEFAULT JUDGEMENT.

There are so many things wrong with the KLARIS LAW 02/11/2026 filing that it is “UNETHICAL” and “CRIMINAL.” KLARIS LAW CAN NOT FILE ANY DOCUMENT FOR VYDIA; THEY ALSO NEED THEIR OWN LOCAL COUNSEL, BUT SPOTIFY IS ALREADY IN DEFAULT ALONG WITH VYDIA.

Klaris Law efiled the document through pacer on 02/11/2026 and selected plaintiff instead of defendant to mislead the court into thinking that Tulsa Nights Entertainment Group Inc attorneys filed the monstrosity

While mainstream headlines panic about YouTube “leaving the charts” and artists losing credit for billions of streams, the reality is far simpler and far more revealing.
In a bold move that exposes the fractured state of music chart authority, YouTube announced today that it will stop providing its streaming data to Billboard for use in U.S. charts, effective after January 16, 2026. This means YouTube views and streams, the world’s largest source of music consumption, will no longer factor into the Billboard Hot 100, Billboard 200, or other rankings starting with charts dated January 17, 2026.

But here’s the critical truth buried under sensational headlines: This changes nothing about real, measurable success in the music industry. YouTube streams will continue to count fully toward the metrics that actually matter.

RIAA Gold and Platinum certifications (the official, audited career milestones)

and

Luminate’s raw consumption data (the industry’s unweighted “SCOREBOARD” used by labels, managers, and agents).

Why the Announcements Happened

YouTube’s decision, detailed in a Youtube Music blog https://blog.youtube/news-and-events/youtube-billboard-chart-update/ post by Global Head of Music Lyor Cohen, is a direct protest against Billboard’s persistent use of a weighted “points” formula that values paid subscription streams (e.g., Spotify Premium) higher than free, ad-supported ones. YouTube argues this outdated system ignores how billions of fans, especially younger, global, and diverse audiences in genres like hip-hop, Latin, and electronic, actually discover and engage with music.

“Billboard uses an outdated formula that weights subscription supported streams higher than ad supported,” Cohen wrote. “This doesn’t reflect how fans engage with music today and ignores the massive engagement from fans who don’t have a subscription. We believe every fan matters and every play should count equally.”

December 18 2025, 12:35 am CST

“YouTube Ends Data Partnership with Billboard: What It Really Means for Music Fans and Artists”

written by: Orangeskies_0011

While mainstream headlines panic about YouTube "leaving the charts" and artists losing credit for billions of streams, the reality is far simpler and far more revealing.

In a bold move that exposes the fractured state of music chart authority, YouTube announced today that it will stop providing its streaming data to Billboard for use in U.S. charts, effective after January 16, 2026. This means YouTube views and streams, the world's largest source of music consumption, will no longer factor into the Billboard Hot 100, Billboard 200, or other rankings starting with charts dated January 17, 2026.

But here's the critical truth buried under sensational headlines: This changes nothing about real, measurable success in the music industry. YouTube streams will continue to count fully toward the metrics that actually matter.

RIAA Gold and Platinum certifications (the official, audited career milestones)

and

Luminate's raw consumption data (the industry's unweighted "SCOREBOARD” used by labels, managers, and agents).

Why the Announcements Happened

YouTube's decision, detailed in a Youtube Music blog https://blog.youtube/news-and-events/youtube-billboard-chart-update/ post by Global Head of Music Lyor Cohen, is a direct protest against Billboard's persistent use of a weighted "points" formula that values paid subscription streams (e.g., Spotify Premium) higher than free, ad-supported ones. YouTube argues this outdated system ignores how billions of fans, especially younger, global, and diverse audiences in genres like hip-hop, Latin, and electronic, actually discover and engage with music.

"Billboard uses an outdated formula that weights subscription supported streams higher than ad supported," Cohen wrote. "This doesn’t reflect how fans engage with music today and ignores the massive engagement from fans who don’t have a subscription. We believe every fan matters and every play should count equally."

The timing follows Billboard's own announcement just TuesdayDecember 16, 2025 adjusting its methodology to give streams more overall weight, requiring 33.3% fewer ad-supported streams and 20% fewer paid streams to equal one album unit. YouTube called this insufficient, ending a decade long data partnership after "extensive discussions" failed to produce equal weighting.

Billboard, a private trade publication owned by Penske Media, defended its approach in a statement: "Billboard strives to measure fan activity appropriately; balanced by various factors including consumer access, revenue analysis, data validation and industry guidance." Their goal with the update was to "better reflect an increase in streaming revenue and changing consumer behaviors," prioritizing paid streams as indicators of higher intent and value.

In reality, this is a power struggle: YouTube asserting that consumer behavior not a magazine's arbitrary math should define success, while Billboard clings to its role as the weekly "narrative" creator.

What Changes And What Doesn't

Metric, What It Measures, YouTube Included After Jan 16, 2026? Why It Matters.

“METRIC”- 1. RIAA Certifications:

“WHAT IT MEASURES” - Cumulative units (sales + streams) over an artist's career; official Gold, Platinum and Diamond plaques

“IS YOUTUBE INCLUDED AFTER JAN 16,2026” - Yes - fully and equally (150 streams = 1 unit, no weighting) The legal, historical record of commercial success; what gets celebrated in bios and on walls

“METRIC” - 2. Luminate (formerly SoundScan).

“WHAT IT MEASURES” - Raw, unweighted daily and weekly consumption data (streams, sales, airplay).

“IS YOUTUBE INCLUDED AFTER JAN 16,2026” - Yes - reporting continues unchanged The industry's true scoreboard; used by labels for decisions on tours, deals, and promotion.

“METRIC”- 3. Billboard Charts

“WHAT IT MEASURES” - Weekly rankings based on weighted points (favoring paid streams + sales + radio).

“IS YOUTUBE INCLUDED AFTER JAN 16,2026” - No - Hype machine for "what's hot now"; influences media, playlists, and bragging rights but not raw reality.

YouTube emphasized it will keep feeding data to Luminate and RIAA without interruption. Labels and pros will still see complete YouTube numbers for tracking genuine reach.
“The Bigger Picture: Consumer Power Over "King" Charts”

Billboard has long portrayed itself as the ultimate authority because its charts drive immediate industry action festival bookings, sponsorships, playlist pushes, and even Grammy visibility. But it's not "law." It's a private company's editorial formula, built on tradition and media influence, not objective truth.

Consumers hold the real power: Where fans watch and listen determines revenue, cultural impact, and long-term legacies. By pulling out, YouTube is exposing Billboard's system as disconnected from global reality and redirecting attention to more democratic alternatives, like its own YouTube Music Charts (real-time, unweighted views).

This could disproportionately benefit artists with massive free tier audiences, while potentially fragmenting Billboard's relevance. For fans, it's a reminder: That a number 1 on Billboard is manufactured narrative.

True dominance shows in RIAA plaques, Luminate reports, and where the world actually plays the music.
As Cohen concluded: "We are committed to achieving equitable representation across the charts." Whether Billboard adapts or fades remains to be seen but the era of one publication crowning weekly "kings" may finally be ending.

Orangeskies_0011 is a senior breaking news reporter for INDIE SIGNAL NEWS.

Youtube Music

Flexx Lu’: Tulsa's Raw Voice Rising from the Ashes of Black Wall Street

December 16, 2025, 10:15pm CST

by: Orangeskies_0011

TULSA, OK - In the heart of Tulsa, Oklahoma a city forever marked by the triumph and tragedy of Black Wall Street emerges an indie artist whose music cuts straight to the soul. Flexx Lu’ born Jordan Price is a rapper, producer, and songwriter channeling the unfiltered pain of his experiences into tracks that resonate with raw authenticity. His recent unplugged performance of "KNEE DEEP" at Next Up Studios has been turning heads, showcasing a vulnerability that few artists dare to expose.

Flexx Lu’ hails from Tulsa, the historic home of the Greenwood District, once known as Black Wall Street the thriving Black economic hub destroyed in the 1921 Tulsa Race Massacre. Today, he proudly reps his roots, often nodding to "Slum Wallstreet" in his posts, a gritty reimagining of that legacy amid modern struggles in North Tulsa. His music reflects the resilience of a community that rose from devastation, blended with personal battles that hit close to home.

Listen to the hook of "Knee Deep," and you'll hear the pain pouring out:

“My heart is screaming I been silent but fighting these demons
Momma died an it broke me to pieces I didn’t cry because I can’t show no weakness

Emotional meltdowns in the jailhouse and I didn’t tell nobody when you locked up they treat you like a nobody I hid my pain to where nobody knows about it”

These lines aren't just lyrics they're a confession. Flexx Lú lays bare the weight of loss, incarceration, and the toxic expectation of stoicism in Black communities. His delivery is melodic yet unorthodox, with rhythmic cadences that twist and flow unpredictably, pulling listeners into his world. It's the sound of someone who's been “KNEE DEEP” in hardship, fighting demons silently while the world moves on.

As an independent artist, Flexx Lu’ handles it all: writing, producing, and performing. He's built a presence on platforms like SoundCloud, Instagram (), X (), and YouTube, where his latest "Knee Deep" unplugged session (shot by Wallace Productions) captures him in a stripped down moment beanie pulled low, arms crossed defiantly over the mic stand, eyes closed as he pours out his truth.

In a music industry dominated by polished facades, Flexx Lu’ stands out for his refusal to hide the cracks. His work echoes the spirit of Tulsa's history: destruction, survival, and rebirth. He's not chasing mainstream gloss; he's speaking for those who feel invisible, turning personal scars into anthems of endurance.

Keep an eye on Flexx Lu’. From the streets of Tulsa to wherever his sound takes him next, this indie force is proving that real pain, when voiced honestly, can heal and inspire. Check out "Knee Deep" on YouTube and follow his journey you'll hear a heart that's been broken but refuses to stay silent.

Orangeskies_0011 is a senior breaking news reporter for INDIE SIGNAL NEWS.
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pictured below is Flexx Lu’