Nicholas Arter dedicated himself to making AI music full-time when he was laid off from his job in government consulting amid federal workforce reductions. But while “AI is making the job market for consultants in particular more difficult and more competitive,” he says, “when I was laid off, I actually doubled down on AI.”

Arter “went in 100%” on his AI music brand AI For The Culture — which now has 155,000 subscribers on YouTube, 110,000 on Instagram and 250,000 monthly listeners on Spotify. AI For The Culture also boasts over 250 Patreon subscribers, paying $5 monthly for full access to his catalog; across his income streams, he estimates he makes thousands each month.

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Arter, who also releases music under the name “Nick Hustles,” is one of many musicmakers who now earn significant income from releasing AI generated (or assisted) songs online. And although the visibility of these creators is growing, thanks to a number of viral AI hits — including, most recently, songs by The Velvet Sundown — most of them still have had little to no affiliation with the music industry establishment. They do not tour. They are not offered record deals. They do not issue physical releases.

Instead, their careers more often resemble those of content creators, making money largely from social media creator funds, YouTube views and paid subscription platforms, like Patreon. And as this growing cohort increasingly posts AI music to official streaming services like Spotify, too, they’re pioneering an emerging and controversial career path in music — one that increasingly competes for royalties with traditional artists.

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Much of AI music content started as a joke. Around late 2022, as AI voice models improved, parody covers of popular songs — where a celebrity or popular character’s voice replaced the original artists’ — became more common. Then, in May 2023, Ghostwriter, an anonymous songwriter/producer, posted his original song “Heart On My Sleeve,” which used AI to deepfake the voices of Drake and The Weeknd without their permission.

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The song made headlines and Ghostwriter became the poster child for a new, polarizing type of creative. “Heart On My Sleeve” was also confusing: many believed that the song was generated entirely by AI, even though the emerging tech was actually only used to swap out Ghostwriter’s own vocal performance for Drake and The Weeknd’s. (AI music generators already existed, but typically couldn’t compose a song start-to-finish.)

This technological window was short-lived. In December 2023, AI music companies Suno and Udio debuted, enabling the creation of songs that were nearly indistinguishable from human-made music to be made at the click of a button. Soon, AI musicmaking evolved from voice swapping pre-existing or original songs to an explosion of fully AI generated content. (The two companies have since been sued by the major music companies, which allege Suno and Udio are engaged in widespread copyright infringement by training their models on copyrighted sound recordings without consent or compensation to artists).

Comedians-turned-AI-musicmakers like Will Hatcher, who releases under the moniker King Willonius, and Glenn Robinson, the creator of popular social media account Obscurest Vinyl, each tell Billboard they signed up for these new AI music platforms to help take their jokes to the next level. Soon after, in March 2024, Hatcher released his viral smash “BBL Drizzy,” an Udio-generated song (with lyrics written by Hatcher) that mocked Drake at the height of his rap beef with Kendrick Lamar. Remixed and popularized by Metro Boomin, the track became another key moment in the development of AI music.

Meanwhile, Robinson was building an Instagram page where he posted funny, photoshopped album covers. Once he tried Suno, he started posting AI songs to pair with his self-made artwork. “I start with the album cover and think, ‘What would this sound like?’ and I just write some lyrics and prompt accordingly,” says Robinson, who, like Hatcher and Arter, had a background in making music before AI. “It takes a few tries, but if I can’t get something I like, I’ll record a demo myself.”

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Obscurest Vinyl now has grown to 295,000 Instagram followers and its top song on Spotify, “I Glued My Balls to My Butthole Again,” has over 3 million streams to date. Robinson says his biggest moneymaker is merchandise based on the music, but he earns royalties — sometimes hundreds of dollars a month — from YouTube and Spotify, too.

“I think we’re still in the phase of AI music as comedy,” says George Karalexis, co-founder/CEO of Ten2 Media, a YouTube content strategy firm that works with AI For The Culture and Hatcher along with artists including Benson Boone, BigXThaPlug and Lil Tjay. “There will always be some type of comedic music in this field, but I think we are entering the next phase, as this stuff gets really good, where people just enjoy the music for what it is.”

Now, it’s clear that AI music is good for more than a laugh — it’s an increasingly popular option for listeners. JPEGMAFIA, for example, prominently sampled one of AI For The Culture’s songs in his 2024 single “either on or off drugs.” The Suno-generated doo-wop tune “A Million Colors,” released by Brazilian AI music content creator Vinih Pray, became the first-known AI song to chart on the TikTok Viral 50 in June, peaking at no. 46. And just a month later, a Reddit controversy around The Velvet Sundown made the AI band go viral worldwide — and its Spotify monthly listenership swelled to over 1.4 million.

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Some streaming services, including Spotify, still do not have policies specific to AI music. As long as AI songs do not violate other rules, like ones against impersonation or spam, they are often allowed to accrue streaming money just like any human-made song. This lack of royalty differentiation was at the heart of the recent Velvet Sundown controversy, which prompted discourse about whether it’s acceptable for AI music to compete in the same marketplace as human-made music — and what streaming services could do to regulate the incoming flood of AI music, which French streaming service Deezer estimates accounts for 18% of songs delivered daily to its platform.

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“There are a lot of misconceptions with AI music,” says Hatcher. “At the end of the day, I think there is still a craft to it. You have to have a great ear. You can generate 20 songs and not have the ear to decide which is actually good. You might get lucky and just have a random hit [with AI], but the people, like me, who are doing this sustainably are very dedicated, consistent and continually improving. I think AI just empowers people to be more creative.”

Arter says that he “firmly believes” that “the human element” of his songs, like writing his own lyrics and editing AI results in ProTools, is paramount to his success with the emerging technology. But he also credits the high quality of his songs to learning how to precisely prompt AI. “I’m at a point, since I’ve used it so much, where I can hear a melody in my head, and I can get the AI to get that exact melody based on how I word my prompts,” he says.

Still, while Robinson, Hatcher and Arter all stress their respect for human artistry and their belief that AI musicmaking is a skilled creative pursuit, Hatcher admits that there’s “a lot of AI slop” on the internet that doesn’t take such a thoughtful approach to creating with the technology. Experts believe much of this AI slop is even used with the intent to steal royalties.

Last fall, a North Carolinian named Michael Smith was indicted by federal prosecutors over allegations that he used AI to help create “hundreds of thousands” of songs and then used the AI tracks to earn more than $10 million in fraudulent streaming royalty payments since 2017. Deezer, which has become a vocal proponent for AI music regulation, also reports a significant link between AI music and fraudulent streaming activities, claiming that “up to 70%” of streams for AI songs are artificial, as of June 2025.

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Even if an AI music content creator has good intentions with their work, voluntarily labels it as AI, and writes some of the lyrics themselves, the role is still stigmatized. This summer, Timbaland’s announcement of his new AI entertainment company, Stage Zero, which would release songs by AI artist TaTa, provoked outcry from creatives online, including one producer, K Fresh, who accused Timbaland of taking his song without credit and running it through Suno. Timbaland quickly issued an apology to the producer and clarified that “at Stage Zero…nothing happens without people. Our focus is on building tools with creators, not at their expense.”

Robinson says that while the reception was largely positive when he started adding AI music to his Instagram posts, he still upset some followers by doing it. “Of course, you do get people who are like, ‘You shouldn’t be using this,’ and they’re also completely valid,” he says. “I get why they’re upset; if I wasn’t doing Obscurest Vinyl, I probably wouldn’t go anywhere near AI. For me, it just serves the purpose of helping me match the album covers I make in Photoshop to music of all styles and voices which I couldn’t do effectively without AI.”

The stigma, paired with the lack of clarity around how copyrightable these works are worldwide and how streaming services will regulate it in the future, has kept traditional record labels, publishers, managers and agents away from the AI music content creation game — for now. But JVKE’s manager Ethan Curtis, an early adopter of AI tools, says he thinks it’s only a matter of time before the industry capitalizes on this growing field. “It’s not far off,” Curtis says. “Honestly, I wouldn’t be surprised if [record labels] didn’t start creating AI artists themselves. I mean, why not? You don’t have to share any revenue. You don’t have to deal with moody artists. You don’t have to fight for creative control. I imagine that is already on the roadmap.”

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AI music may now be taking home part of the royalty pool previously reserved for just human artists, but Hatcher, Arter and Robinson all doubt that human-made music will go away because of projects like theirs. “I like to use the analogy of AI music being fast food,” says Hatcher. “There are people that will never, under any circumstances, eat fast food. They want a fine dining experience. And then there are other people who are like, ‘I don’t care where it comes from or who the chef is, give me that burger.’”

“If we are talking about pure output, there’s no way humans can compete with AI music,” says Karalexis. “But where artists can outperform is with meaningful connections with fans, live performances. There is a human element that people still want. I don’t think this is a competition where one wins and the other loses, it’s going to become two different games.”

This story is part of Billboard’s music technology newsletter ‘Machine Learnings.’ Sign up for ‘Machine Learnings’ and other Billboard newsletters for free here.

Welcome to Billboard Pro’s Trending Up newsletter, where we take a closer look at the songs, artists, curiosities and trends that have caught the music industry’s attention. Some have come out of nowhere, others have taken months to catch on, and all of them could become ubiquitous in the blink of a TikTok clip. 

This week: Songs by Olivia Rodrigo, Sufjan Stevens and more benefit from synchs in the new ‘Summer I Turned Pretty’ season, Connie Francis’ catalog rockets up in sales and streams after her death, Pierce the Veil scores a belated hit with a 2023 song and more.

‘Summer’ Season 3 Synchs Turn Up the Heat on Songs by Ariana Grande, Olivia Rodrigo, Justin Timberlake & More

Few, if any, TV shows at the moment have a greater commitment to big songs in big moments than Amazon Prime’s The Summer I Turned Pretty. The hit teen drama made waves in its first two seasons for its extensive use of Taylor Swift synchs — even premiering the new “Taylor’s Version” of 1989 deep cut “This Love” in its 2022 pre-premiere trailer — and the first two episodes of Season Three (which premiered last Wednesday, July 16), make extensive use of everything from classics by alt-rock stars Red Hot Chili Peppers and Cranberries to newer songs by rap hitmakers Jack Harlow and Saweetie. 

Many of those songs, both old and new-ish, have seen major streaming gains since the season’s Amazon debut a week ago. Justin Timberlake’s ‘00s hit “Summer Love,” used in a car singalong scene in the season premiere, racked up over 1.3 million streams in this the first four days of this tracking week (July 18-21) — up 105% from the 641,000 it notched over the same period the week before, according to early data provided by Luminate — while songs from V, SZA and Coi Leray also saw smaller-but-notable gains. 

The season’s second episode saw big gains for even more of its featured songs. Olivia Rodrigo’s Guts fan-favorite ballad “Lacy,” used during a tearful reminiscence scene, rose 62% to 1.3 million over the same period, while Ariana Grande’s rueful “I Wish I Hated You,” used for a bitterly nostalgic sequence, doubled to 370,000 streams. And perhaps the biggest bump came for Sufjan Stevens’ Call Me By Your Name modern standard “Mystery of Love,” used during an emotionally loaded late-episode scene, which rose 163% to 705,000 over that period. 

And there’s been no Taylor Swift yet through two episodes — so the biggest music moments from Summer Season Three may still be yet to come. — ANDREW UNTERBERGER


Pierce the Veil Snags Surprise Sleeper Streaming Hit With ‘So Far So Fake’ 

By and large, America is still in its yeehaw era — but a turn to rock ‘n’ roll (in all of its forms) seems to be on the horizon. 

Aided, in part, by a trend highlighting the often-overlooked segment of Black rock fans, Pierce the Veil’s “So Far So Fake” is experiencing a streaming resurgence. Though similar videos have popped up on TikTok since the song’s 2023 release, the recent momentum appears to have been sparked by user @selfishmavchines’ July 11 video, in which she wines her waist to a groovy, R&B-inflected instrumental break in “So Far So Fake.” Captioned, “[Pierce the Veil] is [just] a bunch of screaming and whining,” the dance clip is intended to show off the versatility of the band’s sound. User @selfishmavchines’ original clip has since earned over 1.7 million views and 335,000 likes, helping the official “So Far So Fake” TikTok sound reach nearly 15,000 posts. “So Far” pulled over 185,000 official on-demand U.S. streams in the four-day period following user @selfishmavchines’ post (July 11-14). The next week (July 18-21), that figure jumped nearly 540% to over 1.18 million official on-demand U.S. streams, according to early data provided by Luminate.

“So Far So Fake” appears on Pierce the Veil’s The Jaws of Life album, which reached No. 14 on the Billboard 200 and topped Hard Rock Albums in 2023. The band has already charted four of the album’s tracks on Hot Hard Rock Songs — “Pass the Nirvana” (No. 4), “Emergency Contact” (No. 5), “Even When I’m Not With You” (No. 9), “Kiss Me Now” (No. 12) — and “So Far So Fake” could make it five should it maintain its momentum. – KYLE DENIS


Connie Francis’ Streams and Sales Soar After Her Death at 87

It’s very sad, though also maybe a little touching, that Connie Francis died just months after she had her biggest moment of pop visibility in decades: We wrote about the surprise TikTok success of her 1962 B-side “Pretty Little Baby” back in May, which was enough to foist Francis onto the Global 200 and Digital Song Sales charts for the first time in her career. Now, following her passing, her entire catalog is up, as her old fans rediscover (and perhaps younger fans discover anew) her catalog gems beyond that unexpectedly viral smash. 

In fact, the continued popularity of “Pretty Little Baby” disguises a bit just how much the rest of Francis’ discography is up this week. All together, Francis’ body of work amassed 3.4 million official on-demand U.S. streams over the four-day period following her Thursday (July 17) death, according to early data provided by Luminate — up 131% from the four-day period prior to her death. But if you remove “Baby” from those calculations — which on its own accounted for nearly 65% of her streaming numbers from July 13-16 — her catalog was up a whopping 295%,to  just over two million streams. (“Baby” itself rose 42% to nearly 1.4 million streams over the same period.) Her catalog also sold over 6,200 digital songs over that period, a 1,426% gain.

Meanwhile, some of Francis’ other biggest gainers and best-sellers during this stretch include her late-’50s breakthrough hits “Who’s Sorry Now” (up 437% to 182,000 streams) and “Stupid Cupid” (up 96% to 240,000), as well as her ‘60s favorite “Where the Boys Are” (up 354% to 147,000). – AU


Viral ‘Aura Farming’ Indonesian Boat Race Kid Helps Melly Mike Earn Biggest Hit Yet 

Indonesia’s Pacu Jalur, an annual boat race featuring young dancer on the bow of each boat dancing to entertain the crowd and motivate the rower, has provided one of the most unlikely sports-music crossover moments of the year. 

On TikTok, users started to pair videos of Dika, the most popular boat performer, with both the concept of “aura farming” (a Gen Alpha term referring to repetitively doing an action to appear cool or aligned with a specific aesthetic) and Melly Mike’s “Young Black & Rich,” giving all involved parties a massive viral moment. From the PSG and AC Milan football clubs to Travis Kelce and KSI, Dika’s dance moves helped the official “Young Black & Rich” TikTok sound reach over 141,000 posts. 

During the week of June 20-26, “Young Black & Rich” earned over 200,000 official on-demand U.S. streams, according to Luminate. The following week (June 27-July 4), which accounts for the earliest viral clips of Dika, that figure jumped by 350% to over 920,000 official streams. During the week of July 5-11, once the clips got more time to visit more FYPs and the trend increased in popularity, streaming totals for “Young” lifted a further 148% to over 2.28 million official streams. Those gains continued in the following week (July 12-18), with “Young” scoring a 19% increase to over 2.73 million official on-demand U.S. streams. Over the past three weeks, Melly Mike’s new hit has exploded over 1,235% in streaming activity. 

Melly Mike originally dropped “Young Black & Rich” in June 2024, and a little over a year later, the song’s journey is still just getting started. This year, Pacu Jalur takes place from Aug. 20-24, and Melly Mike has already confirmed his attendance — and a performance of “Young Black & Rich.” – KD

Post Malone’s ex has dropped a court petition that sought to move their three-year-old daughter from Utah to California after intense opposition from the singer.

The star (Austin Post) and his ex-girlfriend, Hee Sung “Jamie” Park, who had a daughter together in 2022, have been fighting over custody arrangements since April. The child is anonymous in court papers.

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Park had been seeking through a California court petition to take primary custody of the child in Los Angeles, where she moved after splitting from Post this past fall. Post, however, brought his own custody case in Utah, where he says their daughter has lived most of her life and should remain.

The singer’s lawyers filed a motion in May to dismiss Park’s California petition as unfair “gamesmanship,” and the matter was scheduled for a hearing next week. But Park has apparently relented, dropping her California case on Monday (July 21).

Park dismissed the California case with prejudice, meaning it can’t be re-filed. It seems that she and Post will now continue to litigate their custody battle in Utah, though court records there are sealed.

It’s a win for Post, who wrote in the May court filing that Park “intentionally” hid from the court that their child — referred to by the initials “DDP” — has been a Utah resident since birth. 

“I do intend to work cooperatively with Jamie to ensure that DDP has frequent and equal custodial time with her mother,” Post wrote. “However, I do not consent to Jamie’s back door attempt to change DDP’s residence from Utah to California.”

Reps for Post and Park did not return requests for comment on Wednesday (July 23).

Rapper Tekashi 6ix9ine has pleaded guilty to violating his supervised release by possessing cocaine and MDMA, his second such breach of a plea deal he struck with prosecutors in 2018 to testify against his former Brooklyn gangmates.

The new charges stem from a raid on the rapper’s Miami home in March. In public statements at the time, the rapper (real name Daniel Hernandez) said that officers had seized firearms and drugs during the incident, but he denied any wrongdoing.

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According to court records, the 29-year-old rapper appeared Wednesday in Paul A. Engelmayer’s federal courtroom, where he admitted to two counts of drug possession in violation of his supervised release. Those charges are linked to cocaine and MDMA — the party drug known as Molly or ecstasy — found during the raid.

In return for the guilty plea, prosecutors agreed to drop two additional counts Tekashi was facing. He’ll be sentenced in September, when the punishment could range from a few months to years of new prison time.

Once a rising star in the world of hip-hop and social media, Tekashi was charged in November 2018 with helping the Nine Trey Gangsta Bloods gang as they “wreaked havoc on New York City.” But just a day after being arrested, Tekashi cut a deal with federal prosecutors to flip on his crew in return for lenience.

Under the terms of that deal, Tekashi was sentenced to just two years in prison and five years of supervised release. He was released even earlier, in April 2020, after his lawyers argued that the COVID-19 pandemic posed health risks due to his asthma.

With just months left on his five-year supervised release, Tekashi was charged in November with violating the terms of the deal by taking methamphetamine, failing to appear for drug tests, traveling to Las Vegas without permission and other wrongdoing.

After admitting to those violations in a new deal with prosecutors, the judge ordered Tekashi into prison for 45 days and extended his term of supervised release to a year after his release from jail. At the time, Judge Engelmayer sharply scolded the rapper, saying Tekashi apparently doesn’t “believe the rules apply” to him: “Your breach of the court’s trust is profound.”

It will be the same Judge Engelmayer sentencing Tekashi for the new violations in September. At Wednesday’s appearance, per AP, the judge warned the rapper that the “consequences will be severe” if there are additional violations before that sentencing hearing.

Since debuting in 2016, BLACKPINK has been busy not only making music, but collecting accolades. Besides climbing up the charts with their well-received releases and catchy tunes, the quartet of Lisa, Jennie, Rosé and Jisoo has been raking in numerous firsts as an all-female K-pop group.

Billboard charts records? Check! First K-pop girl group to not only perform at Coachella, but first Asian act to headline the festival? Done! New Guinness World Records? Yep! Surpassing Justin Bieber in YouTube subscribers? You know it! And that’s just several of the notable accomplishments the four ladies of BLACKPINK have notched on their belts in just a few short years. Even more impressive? Many of those achievements came about even before their debut studio album — titled The Album — arrived in October 2020.

“It’s very surprising to us. All the records are the results of our fans, BLINKs, and their unconditional support,” Jennie told Grammy.com of the group’s success in September 2020. “Every day we try to acknowledge how grateful we are, but more than the pressure, we are ready to give them back as much as they gave us. It just gives us more motivation to go further than we ever dreamed of.”

And BLACKPINK is primed to knock down even more records. Read on to see what the global K-pop superstar group has managed to accomplish thus far.

Over the last year and change, the four members of BLACKPINK have dominated the global charts, each individually reaching the top five on the Billboard Global 200 and Billboard Global Excl. U.S. It all led to the group’s reunion, as “Jump,” the act’s first single in nearly three years, debuts atop both lists (dated July 26) and expands the pop stars’ record résumés.

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“Jump” is BLACKPINK’s fourth song to crown the Global Excl. U.S. chart, following “Lovesick Girls” in 2020, and within weeks of one another in 2022, “Pink Venom” and “Shut Down.” Bested only by BTS’ seven, it makes BLACKPINK the woman-fronted act with the most No. 1s in the chart’s five-year history, breaking out of a tie with Ariana Grande and Taylor Swift. Further, it’s the eighth chart-topper in the greater BLACKPINK universe, including entries by its members as soloists.

ROSÉ first got there with “On the Ground” in 2021, which debuted on top. JENNIE hit No. 1 with “You & Me” in 2023. LISA followed in 2024 with “Rockstar.” And ROSÉ scored a second – and record-breaking – chart-topper with her Bruno Mars collab “APT.,” which led for 19 weeks – more than any other song to date. That means that BLACKPINK and/or one of its members have topped the chart each year since its 2020 inception.

In its first week of release (ending July 17), “Jump” drew 123 million streams and sold 14,000 downloads worldwide, according to Luminate. That’s the highest weekly global streaming count since Lady Gaga and Bruno Mars pulled in 128.6 million with “Die With A Smile” in February.

“Jump” did most of its business outside the United States, where consumption accounted for 89% of its streams (109.9 million) and 75% of its sales (11,000). It’s the biggest non-U.S. streaming count since January when BLACKPINK’s own ROSÉ topped 111 million with “APT.”

The last duo or group to post a bigger number, besides WHAM!’s perennial “Last Christmas” (from 1984), was BLACKPINK itself, with 139.9 million non-U.S. streams for the debut of “Shut Down” in 2022. Before that? BLACKPINK again, a month prior, with “Pink Venom” (198.1 million).

Dating to the inaugural Global Excl. U.S. list, only 19 songs have logged more than 100 million weekly streams outside of the U.S. Seven of them are by BLACKPINK or one of its members, including JISOO’s No. 2-peaking “Flower” (103.3 million, week ending April 6, 2023).

When you listen to ATEEZ’s music, watch their electrifying performances, and observe the intensity of their rehearsals, you begin to sense something deeper. Their trust in one another, the challenges they’ve overcome, and the path that shaped them as a team evoke a particular work: the 2010 documentary Stones in Exile. The film documents the creation of Exile on Main St., the seminal 1972 album by the legendary Rolling Stones. 

Likely due to the “pioneer” or “trailblazer” spirit embedded in their creative vision. Their music unfolds in a raw, arid desert, a symbolic space teetering on anarchy, where they weave stories of freedom, independence, self-awareness, and autonomy, charting a relentless journey toward these ideals. Over the years, they’ve crafted an intricate self-narrative, and their evolution from boys to fully realized artists feels like a musical coming-of-age documentary in motion. The raw intensity they bring to the stage transcends mere performance, embodying a crystalline culmination of their private experiences, hard-fought introspection, and shared moments of struggle and triumph, compressed and expressed with visceral power.

Perhaps that’s why I find myself picturing their own quiet sanctuary. It’s a modest retreat, far from the relentless noise and pace of the city—a space where time slows just enough to allow for reflection. Here, they might leaf through well-loved books, place LPs with rich and varied tones onto a turntable, and listen intently to the warm hum of vintage equipment. Sometimes they ride through the neighborhood on classic motorcycles, feeling the wind graze their skin. As twilight drapes the sky, they might sit together, trading unhurried thoughts as wisps of smoke curl into the air. Other days, they fish alone by a quiet river or share workouts that challenge the body while strengthening their bond. On sleepless nights, they gather for films, closing the day with quiet laughter and a warm glass of milk in hand. In this imagined space, they find their own rhythm of emptying and refilling, restoring themselves in the quiet strength of their connection. This is ATEEZ’s way: moving forward with burning intensity, finding calm in the pause, and lifting anchor once again with fearless resolve to meet the world head-on.

When I think of ATEEZ, the first word that immediately comes to mind is “intensity.” Whether it’s in your music or your performances, there’s an unmistakable energy—driven, heartfelt, and all-in—that defines who you are. What would you say is the core force that fuels ATEEZ and fills everything you do?

Hongjoong: What fills ATEEZ? Simple. It’s ATINY. We all have our personal goals, and of course we have goals as a group, but at the end of the day, the real drive behind everything comes from ATINY. That “all-in” energy people talk about when they describe us? It’s because of that. We always wanna show ATINY our best, put on performances we can be proud of, and keep delivering that raw ATEEZ vibe without losing what makes us, us. Everything starts from wanting to make ATINY proud.

Seonghwa: I’d say the biggest thing that fills ATEEZ is passion. It’s that passion that makes us wanna keep leveling up our performances and push ourselves harder. When you’ve got that kind of fire, you naturally start putting more and more into every stage.

Yunho: For me, it’s love. I think that’s the core. Whether it’s from ATINY, our families, or the people around us, all that love gives me and the members so much strength. Honestly, I feel like that’s where our energy and good vibes really come from.

Yeosang: I’d say it’s the fact that the eight of us are all chasing the same goal—to keep going higher. That shared mindset keeps us tight. And of course, we wouldn’t be here without ATINY, who always show up with love and support. 

San: I think it all comes down to being real. I always step on stage like it might be my last, and I think that mindset helps me connect with people in a genuine way. And honestly, ATEEZ has received so much love from ATINY. That love pushes us to go even harder, because we just wanna give back everything we’ve been given. 

Mingi: I think it’s hunger. That drive to level up, to do better every time, is what makes our performances feel so intense and full. It’s that craving to grow that really fuels our “all-in” energy on stage. 

Wooyoung: Honestly, ATINY is the biggest part of it. But I’d also say our teamwork plays a huge role. No one in this team ever half-asses anything. Everyone’s always giving it their all, and I think that’s what makes ATEEZ leave such a strong impression.

Jongho: I think the biggest thing is the way all eight of us bring our own unique vibes, and how it all just clicks together. That blend of different energies creates something powerful. Plus, every member has their own confidence and passion, and I think that’s what makes our presence feel so strong on stage.

⁠They say true growth often comes not from adding more, but from letting go. In your own journey, what have you had to release or unlearn in order to grow? 

Hongjoong: For me, it was all about mindset. I had to let go of the constant pressure to overcome every little fear, doubt, and feeling of not being enough. Once I made space for more positive thoughts and energy, that’s when real growth started to happen.

Seonghwa: I’ve been trying to let go of my obsession with perfection. I used to get really down if things weren’t perfect, and even small mistakes would stick with me all day. Now, I’m learning to be okay with things not being flawless, as long as I gave it my all. 

Yunho: For me, it was about letting go of worry and all that anxiety about the future. I’ve realized that when I overthink, things just don’t go well for me. 

Yeosang: I guess I’ve let go of two things—free time and body fat. With our busy schedule, I definitely have less time for myself than I used to, but honestly, I’m just grateful I get to do what I love. As for the fat… I’ve been working out and dieting consistently to show my best self, and yeah, it’s basically gone now. (laughs) 

San: I think it’s important to let go of pressure. Instead of feeling like I have to be perfect or prove something every time, I try to focus on showing my true self. That mindset feels more meaningful. So whenever I’m on stage, I try to fill each moment with real, honest energy—not too heavy, not too light, just pure sincerity. 

Mingi: I’ve realized it’s important to keep my thoughts and mindset light. Lately, I’ve been trying to think more simply and clear my head, and honestly, it’s been helping. Same goes for music. You can fill a track to the brim and make it feel intense, but that doesn’t always make it memorable. I think sometimes, leaving space is what makes that one moment really hit. So yeah, I try to stay aware of that balance and make room for impact. 

Wooyoung: I’ve been trying to stop comparing myself to others. Instead, I focus on comparing who I am now to who I was before. That way, I can see my own growth and keep pushing forward in a healthier way.

Jongho: I tried not to let greed get in the way. What fills ATEEZ isn’t one person’s ambition—it’s the trust and respect we’ve built as a team. That’s what true “filling up” looks like to me. 

So what would you say was the foundation for that sense of “filling up” or growth?

Hongjoong: Honestly, just time spent practicing and growing. Whenever I found a little space to breathe—mentally or emotionally—I tried to fill it with effort and progress. 

Seonghwa: For me, it really came from within. When I know I’ve worked hard and can feel proud of myself without any regret, that’s when I feel full. That kind of self-assurance is what truly strengthens me.

Yunho: Confidence. And like I said before, the love I’ve received gave me a deeper sense of self-worth. 

Yeosang: Spending my time well. When I use my time meaningfully, even in small ways, I feel good—like I’m building something real. I’ve done that so far, and I plan to keep doing it. 

San: Love. Seriously. ATINY’s love fills me up every single day. It’s so big and so sincere—I want to give all of it back, tenfold. 

Mingi: I feel like we’re being filled through all kinds of experiences—whether it’s culture, performances, or just everything we’re exposed to. And beyond that, we’re also growing through trust, connection, and the values we build with people around us.

Wooyoung: Definitely the love from fans who believe in me. It’s a huge source of strength—and motivation. 

Jongho: For me, it’s our teamwork. We’re a big group, and that only works because everyone checks their ego. We’ve always focused on balance—making space for each other’s strengths. That harmony, that unity… that’s what fills me the most.

The storytelling behind Billboard’s ATEEZ feature aims to capture moments of silence and stillness—time intentionally left empty to make room for the group’s voice. In other words, private moments of rest and recharge. Do you have any personal, peaceful rituals or shared downtime as a group that help you reset? 

Hongjoong: When we’re on tour, we randomly get these little pockets of downtime that aren’t even planned. And honestly, those chill moments—just vibing with different combos of the members—end up being super refreshing. I don’t even try to make it a thing, but somehow they always give me inspiration and help me reset. 

Seonghwa: Whenever I get the chance, I try to do things I usually don’t have time for. I go on walks, spend time alone, and just enjoy the little things in everyday life. That’s how I recharge.

Yunho: For me, it’s all about peaceful trips and snapping photos of nature along the way. Just looking at those views helps me clear out all the random thoughts in my head and really reset.

Yeosang: Working out is my go-to. It’s one of the few things I can do at my own pace without feeling rushed. I love that I can just zone out and focus completely on myself for a bit. 

San: I think each of the members is pretty good at enjoying their own alone time, and I’m definitely the same. I really value those quiet moments by myself. I take that time to reflect, recharge, and just be fully present with myself. 

Mingi: Nothing too fancy, honestly. I’m into chill things like spa days or good food—stuff that helps me unwind. So on my days off, I just like to take it slow and enjoy the time. 

Wooyoung: Things get super busy, but I still make time to relax whenever I can. I think all of us have our own ways of unwinding, and that’s what helps us stay grounded and keep going strong.

Jongho: We eat together a lot and make time for just the eight of us to hang out. It might seem small, but those little moments really help us stay tight as a team. (Laughs) I think that’s why, even when our schedule gets super packed and tiring, we don’t burn out easily. We get through it together. 

From pirates to anarchists to outlaws from Westerns, the characters in ATEEZ’s storytelling often embody a bold spirit—challenging norms and stepping beyond the boundaries of convention. Do these recurring themes reflect the core values or motto of ATEEZ as a team?

Hongjoong: Yeah, for sure. Dropping unexpected music at unexpected times, trying out video styles no one saw coming, and chasing goals that might seem impossible—no one told us to do it that way, but I think it’s become our shared mindset. Not just for the members, but for everyone on this journey with us. Honestly, I feel like ATINY might be the same. Moving forward, I wanna keep being that steady captain who gives strength and courage to our fans, our team, and everyone who believes in us. 

Seonghwa: Whether it’s music, dance, or visuals, ATEEZ has always gone after bold and new ideas without fear. I think that fearless attitude we show in real life kinda mirrors the characters we bring to life in our storytelling. 

Yunho: I think that kind of energy really fits ATEEZ as a group, and it matches each of our individual vibes too. 

Yeosang: Looking back, I think we had nothing to lose when we first debuted, so I wasn’t really afraid of anything. That mindset probably showed through as courage and determination. I was just doing my best with what was given to me, so I’m really thankful that people saw it as something cool. 

San: I think there’s definitely a connection. When something feels unfair, I try to speak up and share my honest opinion. That’s just how I am, and I’ll keep being that way. I guess that side of me naturally came through more. 

Mingi: I feel like ATEEZ is the kind of team that, if there’s a wall in front of us, we’ll find a way to break through it—no matter what. Revolution-style. That’s kind of our vibe. 

Wooyoung: I wouldn’t say it’s a direct connection, but I think our stage presence, combined with how expressive each member is, really brings everything together. That’s where the synergy kicks in.

Jongho: Honestly, the courage and drive people see in us might’ve started out as boldness—or maybe just raw passion. But I think that’s what made ATEEZ feel like a group that charges forward no matter what, almost like a collection of pure willpower. Boldness and passion aren’t that far from courage and determination, right? (Laughs) So yeah, I feel like all of that naturally lined up with the storytelling we’ve built. 

Let’s take things in a lighter direction for a moment. Have you ever had a moment of justified rebellion—a break from the norm that felt meaningful in its own way? 

Hongjoong: It’s super small, but sometimes I spend a long time in the studio just watching totally random, meaningless stuff. Like, zoning out or letting the algorithm take over and just letting videos play in the background. That kinda feels like my version of rebellion. But now that I think about it… I’m not sure there was ever a real reason for it. (laughs) 

Seonghwa: Skipping night study sessions to head to the practice room instead—that was probably my version of a little rebellion. 

Yunho: If we’re talking light rebellion, I’d say getting together with the members for a good meal. It might seem simple, but those moments feel like a break from everything—and honestly, they’re super healing for me. 

Yeosang: There was this one time I swore I’d stick to my diet no matter what. And then… I went on an overseas trip and ate literally everything. 

San: I feel like for fans to really feel the sincerity from ATEEZ, we need to carry a mindset that lets us stand tall and proud. So I try to stay away from anything that feels off or not right. Because of that, I don’t think I’ve had any real “rebellious” moments to be honest. (laughs) 

Mingi: I’ve always loved listening to music, but if I had to pick one moment, it’d be going wild with friends at Coachella. Just losing ourselves in the music, dancing like crazy—it was the perfect mix of rebellion and healing. 

Wooyoung: I wouldn’t really call it a rebellion, but there was a time when I played a lot of games during my breaks. It actually helped me let off some steam and just chill out. 

Jongho: It might seem small, but back when we were trainees, there were definitely moments when we just wanted to rebel a little. We’re only human, you know? In those times, the eight of us would always stick together and find little ways to recharge. 

Do the members take part in shaping the visual concept during the creative process? And what aspect tends to spark the most discussion or collaboration? 

Hongjoong: We’re all super involved in different parts of the process. Each member has their own way of expressing their identity, whatever feels most natural to them. The things we talk about the most vary from person to person, but for me, I’m always thinking about how far we can push a new concept, and how to keep the balance between the music, visuals, choreography—everything. There’s no one right answer, so I try to stay open and really listen to everyone’s ideas. 

Seonghwa: We’re pretty involved across the board—everything from outfits to hair styling. We all share our thoughts and also try to really listen to each other. At the end of the day, what matters most is whether it fits the concept. That part never changes. 

Yunho: Everyone has their own take, but for me, I’m pretty vocal when it comes to shoot concepts and styling—especially if it helps bring out my vibe in the best way. 

Yeosang: When any of us has a specific visual concept in mind, we usually talk it through with the team and find a good balance. Hair and outfits are where most of the back-and-forth happens, but we always try to make sure everything fits well and feels right through open communication.

San: We talk a lot when it comes to visuals. Like with “Ice On My Teeth,” we had tons of convos about how to really bring out that resistance or mafia vibe. I remember discussing details like the glasses, the pomade—everything. I think all that attention to detail really paid off, and I’m super thankful to everyone who helped make it happen. 

Mingi: Our input actually gets reflected a lot. Even from the planning stage, we’re all talking and bouncing ideas around about the concept and direction we wanna take for each album. 

Wooyoung: I definitely care a lot about the outfits. If I have a good idea, I’m quick to speak up and share it. 

Jongho: We’re pretty outspoken when it comes to everything—concepts, music, choreography, you name it. There was even a time when one of our B-sides became the title track because we really pushed for it. We’ve also worked closely with the choreo team to tweak moves that felt more “us.” And it’s the same with visuals. We make sure it fits our vibe through a lot of back-and-forth with the team.

⁠ATEEZ’s music is known for blending a wide range of pop elements in just the right places. From your perspective, what musical characteristics best capture what makes a song feel truly “ATEEZ”? 

Hongjoong: It kind of shifts depending on the era. But one thing that stays constant is that the “ATEEZ sound” really comes from our voices and how we express ourselves. No matter what genre we’re trying or how the song is structured, it’s our tone and delivery that make it feel like us. When we were prepping for this Billboard collab, I listened through the album again and thought, “Dang, this is so well put together—it flows so smoothly start to finish.”

Seonghwa: For me, it’s all about newness. ATEEZ is always trying out different genres and putting in the effort to make that freshness feel like us. I think what makes something feel “ATEEZ” is how we take something new and turn it into our own vibe. 

Yunho: I think what makes something feel like ATEEZ is how we play with dynamics—knowing when to push and when to pull back. 

Yeosang: What makes us feel like ATEEZ is that we don’t box ourselves into one genre. We’re always exploring different styles to show all sides of who we are. And it’s not just in the music—it’s in our performances too. 

San: It’s the boldness. We don’t shy away from the unknown. Instead of repeating what’s safe, we push forward with something new, and we do it the ATEEZ way—with no fear. 

Mingi: Honestly, I’d say the combo of addictive tracks and powerful choreography. That’s the essence of our stage identity. 

Wooyoung: All of us have totally different vocal tones, so when we sing together, it creates this really rich mix of textures. I think that contrast gives our songs a lot of depth—and that’s a big part of our sound. 

Jongho: One thing about ATEEZ is that we can take on all kinds of genres and still make them feel like us. We’re also a team that works hard to break the stereotype that “idols aren’t artists.” No matter what kind of music or style we try, we want people to recognize it as ATEEZ and know that we’re here to challenge those limits. 

ATEEZ has topped the Billboard 200 twice now. How has that kind of global success influenced your musical choices or direction moving forward?

Hongjoong: Honestly, even now, we’re always looking two or three albums ahead—just like we did when we debuted. We don’t base our next move on how the last one performed. Instead, we’re always thinking one step forward. We’re super grateful for all the love and recognition we’ve received globally. That support definitely gave us more confidence in the path we’re on. But whether it’s seven years ago or today, one thing hasn’t changed—we’re still focused on creating and sharing what only ATEEZ can deliver, no matter where in the world it’s heard or seen. 

Seonghwa: I think it’s opened us up to more diversity. That kind of success gave us room to grow. It helped us take the next step and made us pay more attention to different genres and styles. 

Yunho: It boosted our confidence big time. We felt like, “Okay, we really can try broader concepts and bolder songs now.” And the fact that we’re getting so much love from fans? Just… grateful.

Yeosang: It’s definitely been a huge motivator. It reassures us that we’re on the right track—that everything we’re pouring into this is worth it. That feeling comes straight from ATINY. We’re thankful every day. 

San: We’ve been lucky to receive love from so many fans around the world, and we never take that for granted. Because of that, I always try to find new ways to express our heart and honesty—in every language we can. 

Mingi: It kind of expanded the runway for us, you know? Global love gave us more space to explore new genre. 

Wooyoung: We’ve been blessed with so much support all over the world. That pushes us to think even harder about what kind of music could connect with everyone. 

Jongho: It’s become a huge source of energy. Every time we try something new or take a risk, that global love is behind us, cheering us on. So we’ll keep going—no fear, just forward.

Did your Billboard success feel like a source of pride, or did it come with a sense of weight—as a new starting point shaped by public expectations and the next big goal ahead?

Hongjoong: Honestly, I think it’s a bit of both. Our goals are still far ahead and way higher, so the Billboard records are something we’re proud of, but they’re also a kind of fuel. They give us and ATINY this shared energy as we keep moving forward together. I’m genuinely so thankful for that. 

Seonghwa: It’s definitely something we’re proud of. But more than that, I see it as a win for our fans. It’s not pressure—it’s pride, shared with them. 

Yunho: I’d say it’s a starting line, not something that weighs us down. It feels like a proud beginning, not a heavy burden. 

Yeosang: It’s a mix. It makes me proud, of course, but there’s also this quiet pressure to do even better for our fans next time. But honestly, that pressure helps me grow—it’s fuel, not fear.

San: I feel both, too. It’s pride and pressure, but not in a bad way. I don’t get overwhelmed by it. We’ll keep showing up stronger, just like we always have. 

Mingi: It’s a meaningful kind of pressure—a good weight to carry. It makes us want to grow and aim even higher. 

Wooyoung: Yeah, I’d say it’s both. Something to be proud of, but also something that pushes us. It gives us real momentum, and with that comes responsibility, too.

Jongho: In our song “WONDERLAND,” there’s a line that says, “To the beginning where the end awaits.” That really sums it up. Hitting a goal like Billboard No.1 wasn’t the finish line—it became the start of a new chapter. We don’t see achievements as the end. For us, every big moment is a reset, and we keep going with that mindset. 

San once said, “It feels like if we just take one more step forward, even more will open up for us.” What does that sentiment mean to the team as a whole? 

Seonghwa: I hope that “one more step” always stays with us—as something that never fully gets solved. I don’t want us to ever reach a point where there’s nothing left ahead. Even if we lose a bit of that rookie mindset over time, I hope the passion never fades. That one step should always be there, pushing us forward. I think it’s the same for anyone who’s achieved something great.

Yeosang: I think I get what that means. It really feels like if we can just break through whatever this “thing” is, ATEEZ could level up in a major way. But honestly, I don’t even know exactly what that thing is yet. We’re still in the process of figuring it out. What I do know is that all of us still have so much passion when we’re on stage. We’ve already broken through a bunch of walls. There were even times when we’d say stuff like, “We don’t know how long this will last, so let’s give it everything we’ve got while we can.” That mindset helped us push through a lot. So now, even if there’s another wall in front of us, I see it as something positive.

San: I honestly think ATEEZ is going through growing pains right now. That’s part of why we always say, “We put everything into every stage.” It’s all for bigger growth. There are definitely times when that “one more step” I mentioned feels super far away. But we keep pushing, because maybe—just maybe—that emerald mine we’ve been chasing is right around the corner. I think that steady, quiet drive is one of ATEEZ’s real strengths. 

Mingi: There’s definitely a wall we’re trying to climb and a direction we’re aiming for. But I’ve realized it’s not just about us changing or improving. Sometimes a new path opens up, or maybe we end up going exactly where we planned. Either way, I believe if ATEEZ keeps growing and adapting with those changes, we’ll get there eventually. 

Wooyoung: I’m the kind of person who really believes that if you say it and work toward it, it’ll happen. I set super specific goals, and once I hit one, I set the next. What makes it even more meaningful is that I’m doing it all with ATEEZ. This group is honestly the biggest gift in my life. Like, how are eight people this committed to chasing one dream together? It still amazes me, and seeing that hunger in all of us inspires me too. Whatever that “one more step” ends up being, even if we reach it in our mid-30s or 40s, I know I’ll be so happy we made it. 

Jongho: I just feel like… there’s still a road ahead of us. That’s really it. What matters most is that what we’re doing—and the time we share with our fans—is fun and makes us happy. If we keep growing and laughing with ATINY like we always have, one day we’ll look back and realize we already made it past that wall. Honestly, even now, I still catch myself thinking, “Am I really an idol? A singer? Someone who performs in front of that many people?” It still doesn’t feel real sometimes. But just by enjoying the journey step by step, I’ve somehow taken that “one more step” we talk about—and I think we’re slowly but surely getting farther than we ever imagined.

⁠What you want and what the world wants don’t always align. Some artists feel pressured to shape their musical choices for better numbers or broader success. Have you ever felt the need to balance what you truly want to create with what the world seems to be asking for? 

Hongjoong: Honestly, I still don’t think we fully know what the world wants from us. Everyone’s got different expectations, different tastes, and their own image of what ATEEZ is. I don’t think that’s something we’ll ever get a clear answer to—even years from now. But through the conversations we have as a team, we get closer to what we really want. And I think by doing that, we’re also helping the world understand us better. 

Seonghwa: I think that’s something everyone goes through at some point. But if you keep going, the chance to do what you really want will come. Even if what you’re doing right now isn’t your ideal, pushing forward gets you closer to it. The opportunity always shows up. 

Yunho: If what you want and what the world wants don’t line up, hitting big success might be harder. But I really think it’s all about finding the right balance between the two. 

Yeosang: For me, finding balance was necessary. I knew I couldn’t just live doing only what I wanted, but at the same time, I didn’t want to only do what the world expected from me either. So I had to stay flexible and figure out a middle ground that felt right for both sides. 

San: There’s a real gap there sometimes. But I think it’s our job to bridge that. That’s what being a professional means to me. I want to make sure I never regret how I represented ATEEZ. In the end, we want to show something only we can deliver. 

Mingi: You can’t always live only by what you want. So yeah, finding the middle ground becomes crucial. Sometimes it’s about asking yourself if a choice brings you closer to your true goals.

Wooyoung: Honestly, when it comes to ATEEZ’s musical identity, I don’t think we’ve ever really compromised. We’ve stayed on our own path for seven years, and we’ll keep walking it. 

Jongho: Honestly, even within the team, we don’t always see eye to eye. But like I said before, we make it work by respecting each other and finding middle ground. I think as long as we keep challenging ourselves and pushing forward together, we can break through any bias that comes our way. 

ATEEZ has showcased unit tracks like “MATZ” and “YOUTH,” offering a glimpse into the group’s “together, yet individual” dynamic. How do you approach unit work in a way that highlights each member’s unique color while still staying true to the overall identity and cohesion of ATEEZ? 

Hongjoong: We don’t really put up walls when it comes to unit or solo work. There are no fixed combos or genre limits—we just focus on what brings out each member’s strengths and feels natural. That’s kind of our way of doing things. Everyone approaches it with pride in being part of ATEEZ, and we’re honest with each other. We give real feedback, but there’s mutual respect too. I think that’s how we keep the team identity strong while still letting each person’s unique color shine. 

Seonghwa: “MATZ” came from blending the kind of music I wanted to make with Hongjoong’s vibe—and it just clicked. Since we’re both part of ATEEZ, that identity naturally came through without us forcing it. What’s wild is that when you watch us perform, it almost looks like each of the eight of us is doing a totally different version of the same choreography. But somehow, when you zoom out, it creates this insane synergy. I think that shows in our personalities too—we’re all super different, but when we come together, that’s what makes ATEEZ feel whole. 

Yunho: Yeah, for sure. Everyone brings their own style and personality, and it ends up blending in a way that feels fresh—like something we haven’t shown before. Sometimes when we get a new choreo or a music guide, we’re like, “Does this even fit our vibe?” But once we dive into it and make it our own, it somehow turns into something that feels so ATEEZ. That’s just who we are—we’re a team that carves out our own path as we go. 

Yeosang: First, we take in the vibe and concept of the unit. Then each of us starts building our own ideas around that. After that, it’s all about putting in the work—practicing hard to make sure everything blends well with ATEEZ’s identity as a whole. 

San: Units have their own vibe, and so does the full team. It’s kinda like ice cream—mixing different flavors makes it even better. Every member has their own thing going on, and that’s what makes it so cool. If we combine what each person does best, that’s when the real magic happens. 

Mingi: When we’re performing as a team, it makes sense to lean into the group’s color. But with solo or unit stuff, I think it’s important to show off your own unique vibe. 

Wooyoung: Even with unit work, I think it’s best when there’s still a little bit of that ATEEZ energy in there. 

Jongho: Since ATEEZ has a lot of members, each of us brings something different to the stage. Our styles and energy are super diverse, so we’ve always worked hard to make sure no one’s individual vibe gets lost—and that everything still comes together as one. I think that effort is what really shines when we do unit work. 

With all this in mind, are there any solo releases in the works for ATEEZ members? 

Hongjoong: Back when I was a trainee, I dropped a few mixtape-style tracks on YouTube. But once ATEEZ debuted, I felt a strong pull to focus fully on the team—and honestly, I still feel that way. Starting last year though, I began this small project of creating solo tracks for each member, just to share something special with our fans. Since every member has such a wide range, I think it’s important for them to express things that might not fit within ATEEZ’s usual sound. As for a solo album of my own? I’m not planning one. I don’t want to do it half-heartedly, and I definitely don’t want to give ATINY something that feels unfinished or off-brand. If the time ever comes when I can fully commit to it, maybe I’ll consider it. But right now, there’s just so much I want to do with ATEEZ—and even more we need to do.

⁠One of your songs describes ATEEZ as striving to be “real in this world.” What does being the “real ATEEZ” mean to you? And on a personal level, how would you define what it means to be a “cool” or admirable man? 

Hongjoong: To me, the real ATEEZ is a team that stays true, no matter how much time passes. We always try to show up with real heart in everything we do—and you can feel that energy when we hit the stage. 

Seonghwa: I think being real comes from being sincere. I always want to stay honest and hope that my intentions come through clearly. Most of all, I just want to be someone I’m not ashamed of when I look in the mirror. 

Yunho: To me, the real ATEEZ is just… me. And what’s a cool guy? Also me.

Yeosang: I think the real ATEEZ is just the eight of us being together. As for what makes a guy cool… maybe someone who still knows how to feel a little romance. (laughs)

San: I think the real ATEEZ is about moving without fear, staying humble, and showing respect. And honestly, a cool guy? That sounds like ATEEZ to me. We’re carving our own path and doing it without hesitation.  

Mingi: I think being able to speak your truth without shame is key. And honestly, the way we keep pushing toward our goals without slowing down? That’s what makes ATEEZ the definition of cool guys. (laughs) 

Wooyoung: ATEEZ is honestly all heart when it comes to the stage and our music. To me, a cool guy is someone who knows how to own who they are, doesn’t run from anything, and lives by their own values. 

Jongho: I think ATEEZ is a group that’s constantly searching for what it means to be real. We don’t want to be boxed into one version of ourselves. If there’s this side of ATEEZ, there can also be that side—and we wanna show all of it. Showing new colors and evolving again and again… maybe that’s what being the real ATEEZ is. (laughs)

⁠⁠Some describe ATEEZ as a group that feels like it was created by a miracle. If you could spark a miracle of your own, what would that be? 

Hongjoong: If I could choose a miracle, it’d be eternity. I want all eight of us to stay as ATEEZ, and for us to be with ATINY forever too. It’s the one wish I carry with me every time I step on stage. 

Seonghwa: I want people to know that miracles can happen for anyone. I hope we can be a source of hope for others, and honestly, there are still so many miracles I want to make happen with ATEEZ. I just want us to keep rising—higher, and all the way to the top. 

Yunho: There are way bigger miracles ahead. One day, I want us to hit No.1 on the Billboard Hot 100.  

Yeosang: If what we do can positively impact someone—if it can actually help change a life—that kind of positive ripple effect… that’s the kind of miracle I want to be a part of.

San: I want us to become the best. I want ATEEZ to keep creating moments that feel miraculous—and show the world what it looks like to reach the top through pure passion.

Mingi: I hope one day there’s no one on earth who doesn’t know the name ATEEZ. We’ll keep going until it’s real. 

Wooyoung: It honestly means the world when people call us a miracle. My personal dream? I want us to become the kind of artists who are respected by everyone, everywhere. 

Jongho: As more people get to know us, I hope we can be artists who truly give others strength and hope. That’s the kind of miracle I want to make happen with ATEEZ. 

Outside of music, are there any other areas you’re passionate about or interested in exploring? 

Hongjoong: I think it’s different for each of us, but for me, I’m really into anything that lets me express myself—music, performing, fashion, all of it.

Seonghwa: I’m super curious about a bunch of creative spaces—fashion included. If the opportunity comes up, I’d love to show that side of myself too. 

Yunho: We’ve all got different hobbies and strengths. Personally, I’ve got a thing for acting, and I game a lot in my downtime. 

Yeosang: Everyone’s got their own lane, but for me right now? It’s all about fitness. I’m really into working out these days, and that time gives me peace.

San: I think everyone’s got different interests— whether it’s acting, writing lyrics, or composing. But for me, right now, I just want to stay focused on music. I want to keep building something great with the members.  

Mingi: I’ve got a long list—fashion, acting, and honestly, a bunch more. There’s a lot I still want to try, so keep watching. 

Wooyoung: We all have our own style and dreams we want to chase. I’m open to anything that lets me express myself. 

Jongho: I think each of us has different interests. Music always comes first for me, but I’d also love to try acting someday and show a new side of myself. 

⁠⁠If you could leave behind just one song to be remembered forever, what message would you want that song to carry? 

Hongjoong: Nothing lasts forever, but the wish for something to stay—that feeling is universal. I’d want the song to say that it’s that hope, that longing, that actually gives life its meaning. 

Seonghwa: I’d choose “Star 1117”. That one’s for ATINY. I want the message to be simple: “We were together.” 

Yunho: I’d tell my story. My life, my journey—everything that brought me here. 

Yeosang: I’d leave “Say My Name”. No message, just the song. 

San: I’d want to leave behind the message, “We shine the brightest when we’re truly ourselves.” I hope people remember that, and feel it. And I’d love for others to believe, “I shine the most when I’m just me.” 

Mingi: Honestly… I don’t know yet. (laughs) I feel like I need more life experience before I can give the right answer. Let me live a bit more first. 

Wooyoung: I’d want it to tell ATEEZ’s story—how we ran side by side with ATINY, pushed through, and made it to the top. 

Jongho: I’d want to leave behind the message that we’re all going through something—and every single one of us deserves to be happy. 

In the wake of Ozzy Osbourne‘s death, T-Pain has said that he’s “heartbroken” by the passing of the late rocker.

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T-Pain hopped on Instagram on Tuesday (July 22) and re-shared his 2023 live rendition of Black Sabbath’s “War Pigs,” which Ozzy had praised and celebrated.

“Heartbroken by the news, I was blessed to be able to cover War Pigs and get your recognition,” T-Pain wrote. “Ozzy forever.”

The “Buy U a Drank” singer covered the Black Sabbath hit as part of his Live From the Sun Rose performance. Ozzy responded on X and said the rendition was “the best cover of ‘War Pigs’ ever. Why didn’t you guys call me?”

While speaking with Stereogum back in 2023, Pain said it was actor and Tenacious D member Jack Black who inspired him to cover the song.

“Like, ‘War Pigs’ — I would always go to a clip of Jack Black singing it on a talk show,” he told the outlet. “Anytime Jack Black comes up in conversation, I always go to that clip and just show people that he did ‘War Pigs.’ I grew a liking to the song from that.”

Ozzy Osbourne died at the age of 76 on Tuesday (July 22), mere weeks after Black Sabbath’s final concert.

“It is with more sadness than mere words can convey that we have to report that our beloved Ozzy Osbourne has passed away this morning,” a statement from the family read. “He was with his family and surrounded by love. We ask everyone to respect our family privacy at this time.”

Check out T-Pain’s post below.

Alexander Skarsgård is certainly tall, and many fans would say he’s handsome as hell — but is he the inspiration behind “Wildest Dreams” by Taylor Swift? The actor has finally addressed it.

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After years of listeners speculating that the pop star wrote the ballad about him, Skarsgård — whom Swift worked with on movie The Giver more than a decade ago — acknowledged the rumors on an episode of Dax Shepard’s Armchair Expert posted Monday (July 21). The topic first came up when the host shared, “My 12-year-old is completely obsessed with Taylor Swift, and I have been telling her for six years that the song ‘Wildest Dreams’ was written about me.”

“And they’re like, ‘No it’s not, Dad,’ and I go, ‘Listen to the f–king words,’” Shepard continued before quoting some of Swift’s lyrics. “‘He’s so tall and handsome as hell …’ I’m like, ‘Who else could that be about?’”

Skarsgård did not end up saying directly whether he thinks the 1989 fan-favorite is about him, but he did joke, “It’s about Brad Pitt, guys, let’s be honest.”

“I wrote the lyrics to that song myself and sent it to Taylor,” the True Blood alum also quipped. “‘Taylor, here’s what you should say.’”

Noting that he was nervous to comment officially on the song, not wanting to invoke the wrath of Swifties either way, Skarsgård did play along with Shepard’s assertion that the 14-time Grammy winner indeed penned “Wildest Dreams” about the Parenthood star. When Shepard recalled Swift performing the track at her Eras Tour stop in Portugal — at which the comedian was present with daughter Lincoln, whom he shares with Kristen Bell — Skarsgård joked, “I wasn’t in the crowd in Lisbon … I wasn’t there, so it was clearly about you.”

“Aren’t we all?” Skarsgård added when Shepard’s cohost, Monica Padman, noted that she’s a big fan of Swift. “We’re all Swifties.”

Skarsgård and Swift’s paths crossed while filming The Giver in 2013, a year after which the musician dropped 1989. The album featured “Wildest Dreams” as one of its singles, with Swift pairing the track — which reached No. 5 on the Billboard Hot 100 — with a music video depicting herself as an actress who falls in love with her costar while on a film set in Africa. The Giver also happens to have been shot in Africa, and Swift sported dark hair in both the dystopian film and in her visual for the song.

Rumors that Skarsgård was Swift’s subject for “Wildest Dreams” practically wrote themselves from there, but the singer has never commented on them. While they were working together on The Giver, however, Skarsgård and Swift were photographed going out to dinner with costar Katie Holmes, and later, the actor gushed about jamming out with the Eras headliner on set.

“We had a piano in the hotel lobby,” he told TIME in 2014. “People would take turns and play the piano and sing. I was better on the couch with my beer, howling along. It was really lovely, actually.”

Watch Skarsgård’s full interview on Armchair Expert above.

While many formats have come and gone throughout the storied history of RuPaul’s Drag Race, one fundamental tradition on the show has remained since the very beginning — the lip sync.

Whether it’s a lip sync for your life, a lip sync for your legacy, a lip sync for the crown or another variation, the lip sync has become the most inextricable cornerstone of the reality show’s brand. Watching two (or occasionally more) queens battling it out while dancing and mouthing the words to some of our favorite songs is part of the reason why Drag Race has essentially become the unofficial sporting league of the LGBTQ community.

Debates have long been held in the Drag Race fan community as to what constitutes a great lip sync; is it the high-octane dance moves, death drops, duck walks and various other stunts that boost performances to success? Is it the number of reveals — either in costumes or wigs — that a queen can successfully pull off? Is it as simple as how well a queen can convey the spirit of a song?

As valid as all these points are, there is one factor to a successful lip sync that doesn’t often get its due — song choice. Picking the right track for staging a no-holds-barred battle is crucial to the ultimate success of a lip sync. So, the question remains: which recording artist’s songs have soundtracked the most lip syncs on Drag Race?

Below, Billboard breaks down the artists whose songs have been featured the most times in lip syncs on RuPaul’s Drag Race and RuPaul’s Drag Race All Stars, and why their music has become an essential part of the Drag Race experience.