Music
Kanye West Was Sued By ‘Nebuchadnezzar’ Opera Staffers For $1 Million In Unpaid Wages
Getty Image The lawsuit comes nearly a year after Kanye took over the Hollywood Bowl to host his ‘Nebuchadnezzar’ opera show. …


Nearly a year ago, Kanye West took over the Hollywood Bowl to hold his Nebuchadnezzar opera show. It was held shortly after he delivered his Jesus Is King project, a release that kicked off his dive into the world of gospel music. The opera show was disappointing to fans who attended, as it started two hours behind schedule and lasted only 50 minutes. Now, less than three weeks from the one-year anniversary of the show, West is facing a lawsuit from the opera staffers for unpaid wages.
According to legal documents obtained by Complex, the opera staffers claimed that they were not adequately compensated for their contribution to their Nebuchadnezzar show. The plaintiffs in the lawsuit include background actors and a hairstylist who claims she was supposed to receive $550 for two days of work. The hairstylist said after four months they received a $530 check and allegedly she was charged a $20 wire fee to get the payment. Other workers on the opera set said they were also charged the $20 fee, which apparently is a violation of California’s labor code.
“The defendants oversaw, controlled and ran the production, and the aggrieved employees worked many hours on the production and were not timely paid for their work, or paid at all,” a document from the lawsuit reads. “In addition, Defendants misclassified Plaintiffs and Aggrieved Employees as independent contractors as no deductions were made for payroll taxes.”
The plaintiffs are hoping to receive “unpaid wages, continuing wages, damages, civil penalties, statutory penalties and attorney’s fees and costs.”
(via Complex)
Artist Spotlight
D. Edge drops irresistible new single “GO T.S.F.G.”

D. Edge is back with a bang! With his latest release, “GO T.S.F.G.,” the dynamic artist continues to impress with a catchy melody, infectious rhythm, and a living and breathing sound evolution that gives us plenty of reasons to keep an ear out. This track proves how D. Edge is a rising force in the new music scene, presenting a perfect balance of addictive beats with outstanding vocal flow.
The music has a driving energy but a laid-back feel, allowing the track to breathe and groove effortlessly. The hypnotic cadence of the melody keeps listeners moving and numbers vibrating at the same time. It’s a perfect demonstration of how D. Edge understands how to combine energy with ease, making every moment feel seamless and effortless.
But this is not only about the beat. But what makes “GO T.S.F.G.” stand out is D. Edge’s flawless melodic flow. His delivery rides effortlessly over the instrumental, carving every phrase easily and in style. It’s a performance with a sense of freedom throughout a single song. His voice hits sweet, almost ethereal notes and confident, nearly commanding ones, and he captures in his notes every turn.
Regarding lyrics, it sounds like an invitation to a unique sonic experience. MDOT D. Edge provides an atmosphere for the audience to jump into the unexplored world of the track, breaking free of the everyday to lose themselves in the soundscape truly. The song title, “GO T.S.F.G.,” raises a question, adding to the song’s allure as fans ponder its meaning.
This is an incredible song, and if you have been listening to his music for years or if you’re thinking about listening to it for the first time, Go T.S.F is a must. It highlights the evolution of someone like D. Edge. With this release, he has cemented himself as an artist to follow in the constantly changing music landscape.
Artist Spotlight
Peter Wilson breathes melody into Utah Phillips’ legacy with haunting new single “Old Man”

“Old Man,” Peter Wilson’s newest song, is a raw intergenerational dialogue steeped in empathy and aching humanity. Written in collaboration with the now-deceased Utah Phillips, a legendary folk musician known as the “Golden Voice of the Great Southwest,” this song presents a moving narration through the eyes of someone society too often neglects.
With lyrics by Phillips and music by Wilson, “Old Man” unites two poets in time. The effect is a gorgeously stripped-down folk ballad that comes across less like a performance than a moment of authentic listening, like a man on a park bench finally telling you the truth about his life, and you can’t help but lean in. Wilson’s acoustic music is spare and stark, letting the story do the heavy lifting. Every chord sounds intentional, as if he’s allowing room for the words to breathe, not speeding them up, just allowing them to speak. His tone is steady and gentle, almost reverent, echoing and channeling the spirit of Phillips’ storytelling. Every note carries the respect you can hear.
However, what makes “Old Man” land so much harder is its unvarnished honesty. There’s no fancy version of homelessness here. No over-dramatization or overproduction. Just quiet, contemplative music that puts you in someone else’s frayed shoes. It’s the kind of song rarely written, inviting you to rest momentarily contemplate. The track feels timeless, rooted in classic folk, and has fresh emotional resonance. It resonates with today’s audience as incisively as it may have decades ago, reminding us that tales like this still play out on every street corner daily.
By combining Utah Phillips’ words with his musical setting, Peter Wilson has created more than a song. He’s made a vessel for compassion, memory, and our oneness as humans. “Old Man” has no interest in working for your attention. It quietly earns it.
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