Mike Tyson is being sued by the producer of the 1998 Jay-Z, DMX and Ja Rule song “Murdergram” for allegedly featuring the track in an Instagram video promoting his fight against Jake Paul last year without permission.

The claims come in a legal complaint filed Thursday (Aug. 7) by Ty Fyffe, who co-wrote and produced “Murdergram” for Jay-Z’s 1998 film Streets Is Watching. While the song, released by Murder Inc., features Jay (Shawn Carter), DMX (Earl Simmons) and Ja Rule (Jeffrey Atkins), none of those artists or their representatives are involved in the lawsuit.

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It’s Fyffe only who takes issue with Tyson using “Murdergram” in a 33-second Instagram video of him training for his blockbuster fight against Paul in November. The alleged Instagram post is no longer on Tyson’s page, but Fyffe’s lawsuit includes screenshots of the video captioned, “You know what time it is #PaulTyson”.

“Neither plaintiff nor any of his representatives granted defendant Tyson permission to use the song title ‘Murdergram’ to promote his boxing match with Jake Paul,” reads the complaint. “By listing the song title ‘Murdergram’ on his Instagram post, defendant Tyson misled viewers to believe that plaintiff endorsed, or was affiliated or associated with, him and/or his participation in the match.”

Fyffe claims Tyson’s use of “Murdergram” in this video helped drive viewership of his fight with Paul, which was watched live by more than 100 million people and broke Netflix viewing records. The producer cites reports that Tyson was paid more than $20 million for the fight, and he alleges that the attention from the match boosted sales of the boxer’s apparel and cannabis products.

Now, Fyffe says he’s entitled to a cut of Tyson’s profits from the fight, as well as the royalties he should have been paid for the use of “Murdergram” in the Instagram post.

“Defendant Tyson’s conduct was intentional, willful and with full knowledge of plaintiff’s copyright in the song,” says the complaint. “As a consequence of defendant Tyson’s infringement, plaintiff has suffered, and will continue to suffer, economic losses and damage to his copyright in the song.”

Reps for Tyson did not immediately return a request for comment on the claims.

A major new court decision disposes of SoundExchange’s $150 million case against SiriusXM based on a judge’s finding that the royalties-collecting organization does not have the right to bring federal lawsuits, point blank.

The Thursday (Aug. 7) ruling from Judge Naomi Reice Buchwald is the first to weigh in on SoundExchange’s standing to file lawsuits as a means of enforcing royalty schemes. The organization, a nonprofit designated by the Copyright Royalty Board to collect royalties for artists, has been bringing these types of federal court actions for more than a decade against radio broadcasters like SiriusXM and music streamers such as Slacker and Napster.

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All of these prior cases have either been settled or referred to the Copyright Royalty Board for resolution. But SiriusXM, having been accused by SoundExchange of “gaming the system” with manipulative bundling in order to withhold more than $150 million in royalties, filed a motion arguing that the organization actually has no right to sue in the first place.

Now, Judge Buchwald says SiriusXM is right. According to the judge, the federal statute that created SoundExchange, Section 114 of the Copyright Act, authorizes the organization to collect and distribute royalties but says nothing about bringing litigation.

“There is a dearth of evidence, let alone substantial evidence, for us to infer that Congress’s omission of any legal authority for SoundExchange in Section 114 was anything but deliberate,” writes the judge. “Absent such evidence, it would be wholly improper for a court to add terms or provisions where Congress has omitted them. Thus, the text of the Copyright Act clearly lacks an express conferral of a right of action upon SoundExchange.”

SoundExchange has argued that, regardless of the text of the Copyright Act, other factors like so-called “implied rights,” public policy goals and legislative history support its ability to bring lawsuits.

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But Judge Buchwald is not convinced by any of these arguments — or by SoundExchange’s claim that it should be able to litigate royalty disputes as a representative on behalf of artists.

“SoundExchange exists to facilitate efficient royalty collection and distribution, not to champion the views and interests of copyright owners beyond royalty collection,” says the judge. “SoundExchange exists as a central clearing house for royalty payments, not a legal advocacy group.”

Reacting to Judge Buchwald’s ruling on Thursday evening, SoundExchange says it’s “currently reviewing the decision and will consider all options, including appeal and potentially filing actions in state courts to ensure the company’s continuing ability to collect all digital performance royalties.”

“Respectfully, SoundExchange firmly believes Judge Buchwald’s interpretation is entirely wrong on the law,” says the organization in a statement. “Despite this unfortunate and incorrect ruling, it is an established and long-accepted fact that SoundExchange has the right to sue negligent providers to compel compliance and payment of mandated royalty fees.”

Reps for SiriusXM did not immediately return a request for comment on the decision.

Among the many big moments of Mau P‘s very big Coachella 2025 set was him dropping a then-unreleased track called “Tesla,” clips of which subsequently lit up the internet.

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The same kind of slinky thumper the rapidly rising Dutch producer is making his name on, the song’s lyrics — “I just popped a Tesla, ain’t no need to charge” — wink at the many ways of channeling energy on the dance floor. But while a clear fan-pleaser given the many TikToks and Instagram posts the unreleased track inspired, the way the producer tells it, success wasn’t assured.

“No one believed in this song until I played it at Coachella and it went viral,” Mau P tells Billboard. ‘Always trust your gut and stand on business.”

Standing on business in this case means that “Tesla” is set for release Friday (Aug. 8) via Insomniac Records. Ahead of that, Billboard has the exclusive debut of the track, complete with video from Mau P’s Coachella sets in the festival’s hallowed Sahara tent, which drew tens of thousands of people over the festivals two weekends. Listen to “Tesla” below:

The track’s release tops off a big week for the producer, who launched his Baddest Behavior residency at Pacha Ibiza on Wednesday (Aug. 6) with a lineup that included him, Mita Gami and Discip. Baddest Behavior at Pacha continues every Wednesday night through Oct. 8, with a top tier collection of guests including Seth Troxler, LP Giobbi, Hot Since 82, Haai, WhoMadeWho, Jan Blomqvist and many more.

The producer’s upcoming tour schedule also weaves in festival sets at events including Creamfields, Portola and iii Points along with his own headlining performances at L.A. State Historic Park, Red Rocks Amphitheater and more.

Adam22, the host of popular hip-hop podcast No Jumper, is facing a lawsuit from a man who says he was assaulted by rapper Luce Cannon and music manager Wack 100 outside the podcaster’s studio last year.

The lawsuit, filed Tuesday (Aug. 5) and obtained by Billboard, stems from a fight outside No Jumper’s Burbank, Calif., studio this past December between a man named Jermel Reed, who goes by the moniker J. Reed, on one side and Luce Cannon (Termaine Ashley Williams) and Wack 100 (Cash Jones) on the other. The brawl was captured on video and went viral on hip-hop social media channels.

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Reed is not suing Cannon or Wack 100. Rather, he’s levying negligence claims against Adam22 and the entity that owns No Jumper’s studio, White Pickle LLC. Reed says Adam22 and his company knew that Cannon and Wack 100 “had a history of violent, criminal or dangerous conduct.”

“Despite this knowledge, defendant White Pickle and or defendant Adam Grandmaison negligently failed to exercise reasonable care in monitoring and supervising the premises while hosting podcast events,” reads the complaint.

Reed says he was “violently assaulted and battered” during the brawl, suffering bruised eyes, a broken nose and a concussion. He also claims Cannon and Wack 100 stole cash and valuables worth more than $10,000 from him.

Cannon, an alleged member of Los Angeles’ Rollin’ 60s Neighborhood Crips gang, is currently in custody as part of the federal RICO case against gang leader and music executive Eugene “Big U” Henley Jr. Cannon is charged with extortion.

Reps for Adam22, Cannon and Wack 100 did not immediately return requests for comment on Thursday (Aug. 7).

This is the second time this year that Adam22 has found himself in the legal crosshairs. In January, he was sued for sexual harassment by two former No Jumper employees; the claims have since been settled out of court.

In 2018, multiple women accused the podcast host of rape and other sexual misconduct. The accusations, which Adam22 denied, led Atlantic Records to sever ties with him and cancel plans for an imprint called No Jumper Records.

All products and services featured are independently chosen by editors. However, Billboard may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes.

With summer almost ending, we’re looking ahead to the back-to-school season for high schoolers, undergrads, music academy students and post-graduates in late August and early September. Luckily, Nike has a bunch of deals on all sorts of sneakers and apparel, so you can go back-to-school comfortable and in style.

We rounded up some of the best deals going on during Nike’s back-to-school sale on items, like sneakers, hoodies, backpacks, slides and more. In fact, even if what you’re looking for isn’t on sale, you can still take 20% off items with promo code SPORT at checkout.

However, this the product you want is marked down, you can get an extra 20% off with the same code. We like deeper discounts, especially when they’re up to a whopping 60% off list prices.

Scroll down and shop our recommendations for the best items from Nike’s back-to-school sale.

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And if you’re a Nike Member, you can get free shipping on orders over $50 and more. But if you’re not a member, then your order has to be more than $75 to get free shipping.

You can sign up to be a Nike Member to get perks from the retailer, like free shipping, expert advice on sports and style, exclusive experiences, early access to new drops (even for recording artists collaborations, like Lil Yachty, Travis Scott, Wu-Tang Clan and others), special discounts and deals, no receipt returns and much more. Best of all? Sign up is free for those with a valid email address.

Want more? Shop more sneakers, apparel and more at Nike.com during the retailer’s back-to-school sale, below:

For more product recommendations, check out our roundups of the best Xbox deals, studio headphones and Nintendo Switch accessories.

Don’t count on a Ye-produced Pusha T track anytime soon.

The Clipse sat down with The Guardian recently as the hip-hop duo continues to promote their new Let God Sort Em Out album, and Push was asked directly if he would ever consider working with Ye (formerly Kanye West) again.

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“Yeah, that’s in the past,” he answered bluntly. “That’s definitely in the past.”

Before he was asked that particular question, though, he was asked if he could mention some of the good times they had as members of G.O.O.D. Music.

“Just as a rap aficionado, well, being there was special,” he replied. “Creating ‘So Appalled’ and ‘New God Flow’ were some of my favorite memories. The G.O.O.D. Friday series, that was crazy, too. The albums I dropped during that time, like Daytona and It’s Almost Dry, they are very, very strong offerings. It goes without saying that me and Ye made great things together.”

Push has distanced himself from Ye in recent years and told GQ that he doesn’t think his former collaborator is a man after Ye took to social media and admitted that he missed being friends with him.

Later in the interview, the brothers from Virginia were asked about their favorite albums of all time, and the answers Malice gave may surprise some — especially about the music he listens to while working out — while Push took a more rap-centric approach.

“Listen, I love The Killers, I love Red Hot Chili Peppers, even Billy Joel,” Malice said. “When I work out in the gym, I have Coldplay playing, or U2’s The Joshua Tree. It’s funny, because when I watched MTV back in the 1980s, David Bowie was always on there. All these years later and Bowie is still at the forefront today. I think that says something about true talent and how it can carry on through the ages. It even outlasts your death.”

Pusha added, “I’m always torn between Mobb Deep’s The Infamous, Raekwon’s Only Built 4 Cuban Linx, Jay-Z’s Reasonable Doubt, and Biggie’s Life After Death. I can drive anywhere in the world with those four albums and I will be happy.”

Eve recently shouted out Doechii, Cardi B, GloRilla, and Latto as the female rappers with the most staying power during an interview with Fat Joe and Jadakiss on the Joe and Jada Podcast.

Reflecting on her career and sharing her thoughts on the current state of female rap, the First Lady of Ruff Ryders had some strong opinions. At one point, Fat Joe remarked that while there are many women in rap today making good money, he doesn’t believe there are a lot of female MCs with “sustainability.” Jadakiss chose to stay out of this conversation, but Eve agreed with Fat Joe’s assessment.

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“I think some of them are [sustainable], I agree,” Eve said. “I think there are some, but I don’t think it’s going to be a lot. … I think Doechii will be there. I think Cardi has made her way. I mean, I love GloRilla; I think Glo will be there. I think there’s some, but I don’t think there’s going to be a lot. … Latto’s dope. There’s a lot of crap out, but yeah.”

Eve’s comments come after Nicki Minaj showed respect for the veteran MC in 2024. In a heartfelt post, Nicki thanked Eve for being a bold trendsetter for women in rap. “I DEFINITELY remember how, when you took the game by storm, there were some ppl who couldn’t hide their insecurities,” Nicki Minaj tweeted in part. “Even tho it’s swept under the rug now, I remember that you handled it with grace but ALSO a big sprinkle of unapologetic TALENT & charisma. You soared & soared. Classic music w/the illest team, to the BIG SCREEN. And made it look easy, too…”

Check out Eve’s comments in the interview at the 33-minute mark below.

Offset and Quavo have apparently buried the hatchet.

While sitting down with the 7PM in Brooklyn With Carmelo Anthony podcast to promote his upcoming album KIARI, Offset revealed that he and fellow Migos member Quavo talk regularly.

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“Me and Quavo talk every other week,” he told Anthony after being asked about his childhood friend and collaborator. “It be the Internet trying to do some old sh–, but with us, it ain’t about that. Like, we holla at each other. That’s family at the end of the day, man. You’re gonna bump heads with your family sometime. End of the day, a n—a ain’t finna play with him, or a n—a ain’t finna play with me and he gon’ play about it.”

He added that they were recently together for what would’ve been Takeoff‘s 31st birthday.

“Gotta celebrate him. Any bullsh– get put aside about bruh. Because he was the glue,” Offset continued. “He was the one who keep our head straight when we were trying to — you know how that sh– be, man? The three of us n—as think one way, one way. He always was the n—a that was the medium.”

“Buddy ain’t trying to argue. He don’t want you to do nothing. He’s just peaceful, bruh,” he added. “He still be around, though. You feel him.”

Offest and Quavo reunited during the 2023 BET Awards to pay tribute to their bandmate Takeoff after rumors swirled about a supposed rift between the two that eventually lead to the Migos disbandment.

Elsewhere in the interview, Offset admitted that the business side of things with the Migos factored into his decision to go solo and leave the group. “I just wanted more for myself as an artist,” he said before explaining that he wasn’t happy with the business arrangement. “Speaking truthfully — I never said this publicly — I didn’t want to do that sh–, but it was the best thing for me to do as a man.”

He also said that he and Quavo didn’t want to continue on with the group after Takeoff’s untimely passing in 2022. “People don’t understand like personally losing a bro? N—as don’t wanna continue that. It ain’t the same juice.”

And speaking of the Migos as a group, the subject of Billboard‘s list of the 50 Greatest Rap Groups of All Time came up and Offset jokingly said that the influential group out of Atlanta should’ve been ranked higher on the list instead being ranked at No. 11.

“They tried us,” he joked. “Let’s put that out there…It gets sticky because you gotta respect the greats, but you gotta respect the different chambers that we broke that they didn’t break too. Like they put the concrete on the floor, but then we put the street lights and the light poles on this mother—-er too. But to put us at 11? We gotta be top five.”

You can watch the full episode below.

As trial nears in the sexual assault case against legendary music executive Antonio “L.A.” Reid, a judge has ruled that former Arista A&R executive Drew Dixon can keep seeking damages over commissions she supposedly lost when Reid refused to sign Ye (formerly Kanye West) and John Legend to the label.

The ruling on Thursday (Aug. 7) comes just one month before Dixon’s civil claims against Reid are scheduled to go to trial in New York federal court. Dixon’s 2023 lawsuit alleges that Reid — who headed up Epic, Island Def Jam and Arista over the course of a storied career — sexually harassed her repeatedly and then forcibly kissed and groped her twice in 2001.

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Dixon says that in addition to making her “depressed and suicidal,” Reid’s alleged abuse cost her valuable professional opportunities. She claims that after she rejected Reid’s sexual advances, he retaliated against her by refusing to sign two promising young artists she wanted to bring to Arista: Ye and Legend.

The lawsuit alleges that Reid berated Dixon in front of Arista’s entire A&R department about Ye’s audition being a “waste of his time,” and that he didn’t even bother to show up for Legend’s audition. Dixon says she lost out on hefty future commissions because of these signing snubs. Neither Ye nor Legend is accused of any wrongdoing.

Reid “adamantly” denies all of Dixon’s claims and is scheduled to contest them before a jury starting Sept. 8. Ahead of trial, his lawyers had sought to limit Dixon’s potential recovery by arguing in a so-called summary judgment motion that any damages over the Ye and Legend auditions are outside the statute of limitations.

But Judge Jeannette A. Vargas refused in Thursday’s order to bar these lost commissions from the upcoming trial. The judge says Dixon can keep pursing such damages, at least for now, under New York’s Adult Survivors Act (ASA) — a law that created a one-year window for otherwise time-barred sexual assault claims to be brought in court.

“Defendant is correct that, for a cause of action to be revived under ASA, it must be brought for an injury or condition suffered as a result of conduct which would constitute a sexual offense,” writes Judge Vargas. “It does not follow from this, however, that damages are limited once a cause of action has been revived.”

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The judge notes, however, that Dixon’s summary judgment ruling is only considering the issue of the statute of limitations, and “it may well be that plaintiff cannot recover lost commissions under any of the asserted causes of action.” Thus, it remains to be seen whether Dixon will actually be able to win a money judgment for these lost signing fees at trial.

Reps for Dixon and Reid both did not return requests for comment on the decision.

Reid’s public image has been shaky since 2017, when, during his tenure as head of Epic Record,s he was accused of sexually harassing a female assistant. He exited Epic but stayed in the music business, launching the HitCo label and later co-founding music collective Mega alongside Usher.

While Reid has been represented in the Dixon lawsuit by powerhouse entertainment lawyer Shawn Holley, he’s currently staring down the September trial without an attorney after falling behind on his legal bills and refusing to return Holley’s calls.

Judge Vargas is allowing Holley and her team to step away from the case due to this rift, but says Reid’s Sept. 8 trial date is firm. That means Reid must either get a new lawyer before then, represent himself or be subjected to a default loss if he’s a no-show.

Dixon is also among multiple women who’ve accused Def Jam Recordings founder Russell Simmons of rape. Simmons has publicly accused Dixon of lying about the incident, leading to ongoing defamation litigation between the two.

Lil Wayne has just about done it all and seen it all in life, but there are rare moments he takes a step back to recognize the rooms he’s in.

Weezy joined SportsCenter earlier this week while kicking off his Tha Carter VI Tour, and was asked about a time he was starstruck, which took Wayne back to recently seeing LeBron James again on the set of a commercial.

The New Orleans rap deity described it as a “huge full-circle moment” for him, after meeting the NBA phenom as a high schooler before his global fame.

“I gotta say when I finally met Bron as LeBron James,” he said. “Because I met him when he was about, I think, 16. He came to a party, my boss at the time told me, he was like, ‘Yo, I need you to bring this kid with you to your show.’ And so the kid was LeBron, right? And to see him become who he was.”

Wayne continued: “I think it was a commercial we shot recently. I was on the set and just looking up at him and asking him about his son and the NBA. That was a huge full-circle moment for me. I don’t know about him, but for me, I was like, ‘What just happened?’”

Weezy and LeBron met while their stardom was just in its infancy stages in the early 2000s, before going on to become respective faces of rap and basketball in the 21st century.

Their careers have intertwined at various points, like when Wayne performed at LeBron’s 21st birthday party in 2005, and the Young Money boss also performed at the hooper’s Beats By Dre NBA All-Star Weekend party alongside the Hot Boys in 2017.

As LeBron has continued to pile up the accolades in a decorated Hall-of-Fame career, Wayne became convinced he’s the greatest to ever pick up a basketball.

“He ain’t got six, but he done it with three different teams. And not on one of those motherf—g teams did he play role two,” Wayne told the All the Smoke podcast. “That right there is what tipped him over the Jordan scale for me.”

Watch the clip below.