Four months after the release of The Life of a Showgirl, Taylor Swift has announced a second music video from the project: The “Opalite” music video will arrive on Spotify and Apple Music first thing Friday morning (Feb. 6).

The pop star made the announcement on her website, unveiling a countdown clock to midnight ET on Thursday night. Following the Apple and Spotify premiere, the music video will be available Sunday (Feb. 8) on YouTube.

“Opalite” will be the second visual unveiled from the project, following a video for lead single “The Fate of Ophelia,” which first arrived as part of Taylor Swift: The Official Release Party of a Showgirl in movie theaters before hitting YouTube two days later. Fans will have to wait and see whether the “Opalite” video is the same as the version that was shown during the album’s theatrical release party or different.

The Life of a Showgirl debuted at No. 1 on the Billboard 200 following its Oct. 3 release and spent a total 12 weeks atop the chart. It moved a record 4 million album-equivalent units in its first week, with “The Fate of Ophelia” debuting at No. 1 on the Billboard Hot 100 that week, followed by “Opalite” at No. 2 — which is so far its peak on the chart.

Swift’s decision to premiere the video first on Spotify and Apple Music follows YouTube’s December announcement that it was withdrawing its streaming data from all of Billboard‘s charts. YouTube’s withdrawal followed Billboard‘s Dec. 16 announcement of a change to chart methodology that will continue to weigh subscription streams more favorably than ad-supported streams, in a bid to better reflect changing consumer behaviors and the increased revenue derived from streaming in the industry. The change means that paid/subscription streams will be weighted against ad-supported streams at a 1:2.5 ratio, narrowed from the previous 1:3 ratio.

In addition to the music video, Swift also announced an “Opalite” 7-inch vinyl single available to purchase for only 48 hours on her web store, set to ship on or around Feb. 9.

Cam’ron recently elaborated on why he decided to file a lawsuit against J. Cole over their “Ready ’24” collab on an episode of Talk With Flee.

The Harlem rapper explained that he filed the lawsuit to get the Carolina rapper’s attention after being given the runaround when he needed the favor returned of either a feature or an interview on one of his talk shows.

“I never ever wanted to do anything as far as a lawsuit was concerned,” he began. “This is exactly what happened, just so you know, and I don’t really care anymore; it was just more to get his attention. Not saying that I don’t need to be compensated for what I do or do what you say you’re gonna do. And to me, being a man is keeping your word, and I know everybody’s busy and has things to do and so on and so forth. But if I give you my word four or five times, I gotta do it one time outta the four or five times.”

He added that when Cole asked for a favor, he was able to deliver in a timely fashion. “So, on [The Off-Season], I did an intro for him. He needed it within 24 hours. Luckily I was in my home studio… I called my engineer over, knocked it out and gave it to him. Cool. I told him I may need a verse whenever I get a project done. He said, ‘Cool.’” Cam then brought up how he recorded his feature on “Ready ’24” in 20 minutes after meeting up with Cole and Cordae at a studio in New York City. “I knocked that sh– out and went off about my business,” he said before mentioning that he asked Cole for a verse in return.

However, when the time came, Cam joked that he told him that, “The chakra ain’t right right now, you know the moon gotta align with the stars. When I write I put my all into it.” With Cam then responding with, “OK, let’s put your all into it. Give me that first. You called me twice to do something, and I did it. One day you have 48 hours to do it. Then I knocked the other thing out as soon as I came to New York, because you ain’t wanna send me your record, you wanted to be in the studio with me. I knocked it out. Cool, you don’t give me the record, which is fine. Then I say, forget the record. Let’s do an interview.”

J. Cole apparently agreed to it because he had a project planned, but when Cam reached out to schedule the interview, he claimed that he was given the run around once again, but this time it was because it was in the midst of the Kendrick Lamar and Drake battle and he didn’t want to talk about it without having a project out. “‘I can’t do it now because I don’t feel like talking about that right now,’” Cam recalled. “I said, ‘Look, I’ll do the interview. I won’t even bring that up.’ He says, ‘Nah, I can’t do no interview and not talk about it.’ ‘Alright, well, when can I get the interview?’ ‘Yo, February definite. February, I’m dead ass on February.’ February come. ‘Yo, what’s up?’ ‘Oh, sh–. Yo, I’m still working, man.’”

J. Cole’s long-awaited seventh album The Fall-Off is set to finally drop on Friday, Feb. 6, so maybe he’ll give Killa an interview in the near future.

Billboard reached out to both Cam and Cole’s teams for comment.

You can watch the full episode below.

Nearly three decades later, Public Enemy has transformed its “He Got Game” soundtrack staple into a women’s empowerment anthem.

“She Got Game” arrived Wednesday (Feb. 4) with a moving opening from feminist leader Gloria Steinem’s Address to the Women of America speech.

Women power all aspects of the track with features from hooper-turned-rapper Flau’Jae, Retina MC, Cindy Blackman Santana on the drums, Olympic medalist Elizabeth Beisel handling the strings and Grace Bowers jamming on the guitar.

Proceeds from the girl power track will benefit the Women’s Sports Foundation and Black Music Action Coalition’s Female Fund.

The process for flipping “He Got Game” into the female perspective came when Flavor Flav came on board as a sponsor for the U.S. Women’s Olympic Water Polo Team in 2024.

He has continued to be outspoken in his support of Team USA’s women heading into the 2026 Winter Olympics, which kicks off in Northern Italy with the Opening Ceremony set for Friday (Feb. 6).

“Yeah boy, she in a league of her own/ three-point clutch, she in a zone/ I got the clocks so I got the time, she got game, so she gets to shine/ In a world full of queens, be a king,” Flav raps.

The Public Enemy rapper is bringing his clocks to Milan, where he’ll serve as the hype man for the women of Team USA Bobsled and Skeleton. “The partnership is a blessing. It’s cooler than Cool Runnings,” Flav said in reference to the 1993 sports comedy in October. “It’s Coolest Runnings.”

Directed by Spike Lee, He Got Game arrived in April 1998, starring Denzel Washington. An accompanying soundtrack album from Public Enemy was released alongside the movie by Def Jam, which peaked at No. 26 on the Billboard 200.

Listen to “She Got Game” below.

Chris Brown has been sued by a man who claims he co-wrote two successful songs for the R&B star but hasn’t seen a penny in royalties.

Songwriter Steve Chokpelle, also known as Muse, alleged in a Wednesday (Feb. 4) federal court complaint that he wrote the lyrics for “Sensational,” a track off Brown’s 2023 album 11:11, which reached the top of Billboard’s Mainstream R&B/Hip-Hop Airplay chart and peaked at No. 71 on the Billboard Hot 100. Chokpelle also says he was the lyricist for the 2022 track “Monalisa,” a collaboration between Brown, Lojay and Sarz that hit No. 8 on Billboard U.S. Afrobeats Songs and No. 38 on Billboard‘s Rhythmic Airplay chart.

“Defendants sustained a tremendous benefit, and shall continue to receive tremendous benefit, by [earning] millions in revenues, acclaim, accolades and goodwill from the commercial exploitation of ‘Monalisa’ and ‘Sensational,’” reads the lawsuit. “As a result of defendants’ failure to acknowledge plaintiff’s authorship and copyright ownership interests, and by their failure to compensate plaintiff, defendants have been unjustly enriched.”

According to the lawsuit, Chokpelle wrote the “Monalisa” lyrics during a 2020 session with Brown and fellow singer Sean Kingston at Brown’s home in Tarzana, Calif. But Chokpelle is not credited on the song, and he alleges he “never received any compensation despite ‘Monalisa’s’ commercial success.”

Chokpelle then claims he penned the lyrics for “Sensational” in 2023 alongside producer Onyekachi Emenalo, who goes by the moniker Krazytunez, and later shared the song with Brown. Although Chokpelle is indeed listed as a composer on the “Sensational” credits, he alleges he was intentionally left off the song’s copyright registration paperwork and has been paid “no revenues whatsoever.”

Now, Chokpelle’s lawsuit seeks a court order that would declare him an author and co-copyright owner of both “Monalisa” and “Sensational.” He’s also seeking at least $1 million in damages as part of unjust enrichment and fraud claims against Brown, Kingston, Sony Music Entertainment and Universal Music Publishing Group (UMPG).

Reps for Brown, Sony and UMPG did not immediately return requests for comment on Wednesday. Kingston, who is currently serving a federal prison sentence after being convicted of fraud in an unrelated matter, could not immediately be reached for comment.  

Soundtrack Technologies, a music streaming service for businesses that’s used in Uniqlo stores and Four Seasons hotels, among others, announced it has acquired rivals Tunify and Ambie as it looks to expand internationally.

Founded in 2013 as a joint venture between Spotify and CEO Ola Sars, Soundtrack has 100,000 business subscribers across 75 countries that utilize its library of 125 million tracks, available via direct licensing agreements, in their stores, hotels and coffee shops.

Soundtrack estimates that the market for providing licensed music to businesses is worth as much as $40 billion. By acquiring Tunify (popular in Belgium and the Netherlands) and Ambie (popular in the U.K.), it aims to consolidate a fragmented market “and integrat[e] regional legacy incumbent operators,” according to a press release.

“Music is a universal language, but business is local,” Sars, co-founder of Beats Music, said in the release. “We aren’t just acquiring customer bases; we are investing in the specific cultural and musical nuances of several markets.”

Previously called Soundtrack Your Brand, the company raised $15 million in 2023 from investors led by Matt Pincus’ MUSIC alongside Dundee Partners, adding to other Soundtrack investors including Balderton Capital, Fuel Venture Capital, Industrifonden, Telia, DIG and Matt Spetzler. Based in Sweden, Soundtrack previously raised about $40 million in 2017.

Soundtrack’s mostly North America-based clients include shoe company Dr. Martens, skincare store Kiehl’s, Joe & The Juice cafés and TAG Heuer. The company said customers of Tunify and Ambie, which count Hyatt and Hilton hotels as clients, can now use its AI playlist generator and other services.