Comedy supergroup, The Lonely Island announced this week that their 2011 collaboration with Lady Gaga, titled “3-Way (The Golden Rule)” will be featured on the group’s upcoming LP, due out June 11th.

The viral track which also includes frequent Lonely Island collaborator, Justin Timberlake, originally made it’s debut in May 2011, when Gaga was a musical guest on Saturday Night Live.

Update: Atom Factory have confirmed that they are not involved with Spacebar.

Lady Gaga and other artists, including Kanye West and John legend have all signed up to stream live shows via Spacebar this year. Spacebar is an app created by Gregory Miller, one of the co-founders of Google.org. The app’s mission is to “help musicians broadcast their live performances to the world and allow fans to support the artists they love in an inexpensive and convenient way.”

Here are some excerpts about the app via TechCrunch:

“I wish I could have gone to that concert” is a common refrain amongst music fans. Spacebar can’t teleport you to the venue, but it can stream the audio to your mobile device so you can listen along for a dollar or two. Launching today at TechCrunch Disrupt NY with 15 local clubs and musicians like Kanye West on board, Spacebar’s app could give bands a new revenue stream they desperately need.

With music so easy to pirate or access for free, performers are having trouble selling it. That means little bands have trouble paying rent while more popular musicians have to turn to merchandise or licensing their songs for ads to really make it big.

The idea with Spacebar is to let artists earn more money off of what they’re already doing — playing concerts. Musicians sign up with Spacebar’s iOS app, connect their mobile device to the soundboard at their concert, and stream the show in real-time to their fans. They can give the show away for free, or offer free five-minute previews before asking listeners to pay one or a few dollars. Spacebar has a partnership with Lady Gaga’s management label, and Kanye West and John Legend are signed up to stream shows this year as well. Their clout could help Spacebar surpass more established but clumsier competitors.

Artists can also stream straight from the studio, their tour bus, a garage, or a house party to up their cut. Fans can also tip the band some extra digital cash if they’re really impressed with the sound. Plus, Spacebar hooks up artists with data about who streamed their shows. That means artists could book a show in some little town if they found out lots of people were streaming them from there.

You might wonder why there’s no video in Spacebar. Well, that would require videographers, cameras, and editors that might cost more money than they’d earn. Plus, Miller tells me “we’re using some of the wide pipes on the Internet [that are designed to support video] to up the audio quality. We’re streaming at 256kbs and 328kbs.” Since there’s no recordings or additional distribution, and artists opt in, Spacebar doesn’t need any expensive music licenses.

The full article is available to read over at TechCrunch!

Ever since word got out that Lady Gaga has been booking serious studio time in Los Angeles this week, Monsters have been paying more attention to the whereabouts of the other producers working on her highly anticipated LP, ARTPOP. The results found both Zedd and Madeon in and out of L.A. over the last 7 days, mainly Zedd, who tweeted about flying back and forth between China and L.A. all week.

Zedd spoke a bit regarding his work on ARTPOP, saying he and Gaga recorded a bunch of songs while on tour together in Asia and they, along with Madeon, were meant to finish working on them while he was opening for her on the North American leg of the Born This Way Ball, before Gaga had to cancel the remaining shows due to a labral tear in her hip.

So what do you think? Are Zedd and Madeon working hard with Gaga in L.A.? Let us know on Twitter, or in the comments!

According to writer/producer Jean-Baptiste (Flesh Tone, MDNA), Gaga and her team have locked down all but one room in the Los Angeles recording studio, where he is currently producing tracks for Britney Spears’ upcoming LP, to work on ARTPOP.

Not much is known about what is going down, but it sounds like this isn’t the first time Gaga has shut down the studio recently. Stay tuned for any updates we may receive!

Troy Carter covers this week’s Billboard magazine, along side Guy Oseary (Madonna) and Scooter Braun (Justin Bieber). The article, titled “Power Trio”, is an interesting piece that gives insight into each of the managers respective businesses and investments. Check out an excerpt from Troy’s section below:

It’s four days before Lady Gaga’s Born This Way Ball is about to kick off its ill-fated North American run, but Troy Carter has plenty of other items of business to keep him busy — about 40, to be precise. That’s the number of logos printed on the walls of his offices at Atom Factory, illustrating all the investments he’s made in the last two years, ever since Braun brought him in on his first investment around Christmas 2010. That includes everything from link shorteners like Bre.ad, news apps like Summly (recently in the news when Yahoo bought it for an estimated $30 million last month), chat services like Socialcam and Tinychat and consumer products like Pop Chips and Warby Parker Eyewear. “There’s a lot of different sectors, but great founders are the common denominator,” he says.

On a busy Tuesday, several of those founders pass through Atom Factory’s headquarters — a bright, white warehouse situated directly across the street from the Sony Pictures lot in Los Angeles’ Culver City. The space is part office, part garage and part “brand studio,” with a whole suite of rooms dedicated to hosting business meetings with partner companies and testing products like Pop Water, a new low-calorie beverage Carter funded in-house that launches in Southern California in the spring. Atom Factory has a diverse, largely young staff of 24, including a VP of operations who’s a former schoolteacher and a director of technology partnerships, Allison Streuter, who used to work at William Morris Endeavor (WME) as head of music Marc Geiger’s assistant.

The guys from Rap Genius pop by for a quick check-in, having previously worked with Carter on one of the company’s biggest success stories. In May 2012, Carter helped enlist Nas, a former management client, to become the hip-hop annotation site’s first verified rapper. The site quickly exploded in audience and captured the interest of Silicon Valley behemoths Marc Andreessen and Ben Horowitz, whose venture capital fund put $15 million into the site last October. “Our thinking was, ‘You get Nas and a lot of people are going to follow’,” Carter says. “He’s going to be able to give you great advice on the product. He built so much credibility on the rap side, that now people are annotating presidential speeches, Shakespearean plays, country lyrics. Our bet, and Andreessen Horowitz’s bet now, is that after a few months people are going to be able to utilize the site for just about anything.”

Later that day, Carter is sitting in his office, surrounded by various Gaga artifacts (the exploding bra from the “Bad Romance” video, and MTV Video Music Award), and he wants to discuss data and how to own it. That’s largely through direct relationships with Backplane’s launch of Little Monsters, a social network exclusively for Gaga fans. Designed to host in-depth connections among fans and with Gaga herself, the site was created in part with hopes that it could unlock fan data like “time spent” and amount of content created that Facebook and Twitter just aren’t equipped to isolate for artist pages. Many of Atom Factory’s other investments were made with in depth-connections to fans in mind. The same can be said of its management clients– earlier this month, Carter signed Lindsey Stirling, a violinist who became famous for her classical take on dubstep on YouTube and has translated her online following into sales of more than 100,000 copies of her self-released debut album.

“The next phase of data is going to be transparency and also a deep dive into analytics– it is being used in a way that doesn’t violate the trust between the artist and the fans and the consumer of the brands?” he says. One recent example of how Carter is preparing for the next phase of data lies in Atom Factory music client Ceremonies, an indie band whose music Carter shared with Songza to see how fans of similar bands would engage with it. “We wanted to see which songs they’re listening to from start to finish, which songs they’re skipping and which are the best playlists in which those songs could exist,” he says. “That’s helping us realize what sorts of music are going to work at which format, and whether this song should follow the other on a particular release. It’s and ongoing education and we’re learning a lot.”

Little Monsters has also acted as a presage hub for Gaga’s 2013 Born This Way Ball U.S. dates, giving fans an exclusive one-day jump on presages from sponsor Citi and promoter Live Nation. In some cities, Carter says, “we were doubling and even tripling what sponsor presales were and what other artists’ fan sites have done.” That included selling upwards of 6,000-7,000 tickets per show from Little Monsters presales alone, he adds.

No wonder the industry has its eyes on Backplane’s performance. “If Backplane launches successfully, it will move everything forward because Troy’s involved and connected it and developed it,” WME’s Geiger says. “And primarily because it’s written from the music business utility perspective outward, not tech inward.”

This is an excerpt from this week’s Billboard Magazine cover story entitled “Power Trio.” To read the rest of this story, purchase this week’s copy of Billboard right here.