More than 35 years after Juan Luis Guerra’s “Estrellitas y Duendes” earned the Dominican singer-songwriter his third top 10 on Billboard’s Hot Latin Songs chart, the reimagined version featuring Sting sets new marks for both artists.

The Spanish-language collaboration debuts at No. 24 on the Tropical Airplay chart (dated March 21), returning Guerra to the list after a two-year absence, and giving Sting his first appearance on the survey.

Both Sting and Guerra tell Billboard that their team-up represents yet another high in their decades-long discographies.

“I’m thrilled to be on the Billboard Latin charts with friends Juan Luis Guerra and Ca7riel & Paco Amoroso,” Sting says. “I’m also honored to have collaborated in the past with many amazing Latin American musicians, including Rubén Blades and Charly García. These particular shared musical and cultural experiences are some of the most cherished of my career.”

Adds Guerra, “Working with Sting has been an immense honor. His artistry and sensitivity brought a new light to ‘Estrellitas y Duendes.’ Hearing him sing one of my songs in Spanish is a great gift and privilege.”

The original solo “Estrellitas y Duendes” was released as the fifth single from Guerra’s fifth studio album, Bachata Rosa, which earned him his first No. 1 on Top Tropical Albums and dominated for 12 weeks in 1991, the chart’s longest reign that year. The track hit No. 3 on Hot Latin Songs that March, marking his third of 20 top 10s.

The new collaborative “Estrellitas y Duendes” was released on Rimas Entertainment in November and debuted and peaked No. 9 that month on Latin Digital Song Sales. With its Tropical Airplay debut, Guerra revisits the chart after achieving his 24th top 10 with “La Noviecita” in March 2024.

Although Sting has been a chart staple dating to 1979, as frontman of The Police before going solo in 1985, “Estrellitas y Duendes,” on which he sings entirely in Spanish, marks the English singer-songwriter’s first appearance on a Latin radio chart. It also follows his collab with Argentinian duo Ca7riel & Paco Amoroso, “Hasta Jesús Tuvo Un Mal Día,” which hit No. 23 on Hot Latin Pop Songs (Feb. 28).

Among Sting’s prior collaborations that expanded his musical and lyrical palette, “Desert Rose” features Algerian artist Cheb Mami singing in Arabic. The hit reached the Billboard Hot 100’s top 20 in 2000. Meanwhile, Sting’s Billboard chart history also stretches across adult, alternative, classical, dance, holiday, R&B/hip-hop, reggae, rock and world music rankings.

She is man’s best friend — just not this particular one’s. On Tuesday (March 17), Sabrina Carpenter replied to an X user who was not pleased with the lyrics to her Billboard Hot 100 No. 1 hit “Manchild.”

“Women are always like ‘men are useless’ but sabrina carpenter is like 4 foot 11, she can even climb into a mid size SUV without help,” reads the post by @uncledoomer. Doomer’s sentiment comes in response to a now viral video of Carpenter performing the single at Lollapalooza Argentina on Sunday (March 15).

In the clip, Carpenter and the audience participate in a call-and-response to the song’s pre-chorus. “What do you call it?” she sings. “Stupid!” the crowd replies.

“Or it is it?” asks the pop star.

“Slow!” the crowd responds.

“Well maybe it’s …” she considers.

“Useless!” the audiences yells.

The video was shared to X with the caption, “Sabrina Carpenter at Lollapalloza having over 100K people call men ‘USELESS!’” has more than 200,000 likes as of press times.

Rather than allowing someone to speculate on her ability to get into a car on her own, Carpenter decided to end the conversation with three simple words.

“Yes i can ?” she wrote in a response to @uncledoomer that has gained more than 735,000 likes and 7,000 replies in less than 24 hours.

Fans were also quick to defend Carpenter against the hater.

“She didn’t [say] men are useless, she’s talking about the ‘manchild’ in the song being useless. But if you got identified … Oh well,” one response to the post reads.

“How does it feel to be ended by the queen herself,” a fan account for the pop star replied.

This is not the first time Carpenter has used X to stand up for herself or her music. In December, the “Espresso” singer took to the platform to slam the White House for using her Hot 100 track “Juno” in a video of ICE raids. In her post, she calls the video “evil and disgusting” and tells the White House to never uses her music to “benefit [their] inhumane agenda.” Carpenter’s reply has since garnered nearly 2 million likes, and the White House has since deleted the video from its account.

If anyone can relate to the challenges that come along with being a child star, it’s Miley Cyrus. But one thing she had that many of her peers didn’t was a famous parent on set with her at all times — something she says likely protected her from any potential for abuse in the industry while she was filming Hannah Montana.

In a Wednesday (March 18) cover story interview for Variety, the pop star reflected on how acting alongside her father, Billy Ray Cyrus, on the iconic Disney Channel series — which will celebrate its 20th anniversary with a Disney+ special starring Miley on March 24 — may have shielded her from the mistreatment some former child stars allege they faced when they were younger. The country singer played the dad of his real-life daughter’s titular character on Hannah Montana.

“My dad was on set every single day, so there was nothing that could happen that he wouldn’t know about,” Miley told the publication, which noted that her dressing area back in the day was connected to her dad’s room on set. “There was never a time where I was going to be alone in that dressing room.”

The Grammy winner also recalled how her mother, Tish Cyrus, pushed for Billy Ray to be cast as Robby Ray Stewart on the children’s series so that the Cyrus clan could all be together in Los Angeles while Miley — who was the first in the family to nab a part on the show — was filming. It helped, too, that her dad had a successful music and acting career long before Hannah Montana was created, Miley said.

“My parents didn’t need me to be famous to survive or to be stable,” she told Variety. “What happens to a lot of these kids is their parents want it more than they do, or the kids become responsible for the entire income of the family. That was never my job. Every penny I ever made went into my bank account because my parents were good.” 

Contextualizing Miley’s conversation about child-star abuse are the allegations made against Dan Schneider and Nickelodeon in 2024 documentary Quiet on Set: The Dark Side of Kids TV. The series explored claims accusing Schneider of fostering an environment of inappropriate/predatory behavior on the set of shows starring underage actors such as Drake & Josh and Victorious, which the producer has denied; he sued Warner Bros. and others behind the program for defamation after the documentary’s release on the Investigation Discovery network.

“I think that the environment needs to be made safer if kids are going to be acting,” Ariana Grande, a Victorious alum, said in a Podcrushed interview after Quiet on Set premiered. “I think there should be therapists. I think there should be parents allowed to be wherever they wanna be.”

See Miley on the cover of Variety below.

French music streaming service Deezer reported positive net income, adjusted EBITDA and free cash flow for the fiscal year 2025, the first time the digital service provider has notched all three key metrics and which the company said Wednesday (March 18) signals “the start of a cycle of sustainable profitability.”

Deezer reported 8 million euros ($9.4 million) of positive net income and 10 million euros ($11.8 million) of adjusted EBITDA in 2025. It generated 543 million euros ($639 million) of revenue overall and 135 million euros ($159 million) in adjusted gross profit — up by 2 million euros from 2024 — to achieve a margin of 25.4%.

Calling it a milestone, Deezer executives attributed the growth to a 12 million euro ($14 million) reduction in expenses, while saying its positions on hot-button issues like artist compensation and AI in music has earned it more users.

“We are proud to see 2025 was a solid year, and we met or exceeded all of our targets,” Deezer’s chief financial officer Carl de Place tells Billboard. “Our brand differentiation is clear: Deezer is increasingly recognized for standing up for artists, transparency around AI-generated music and fairer remuneration for the music ecosystem.”

The company now has over 90 million users, with direct subscribers increasing by 8.6% in France and by 7.7% in the rest of the world in 2025. Gen Z users, people born between 1997 and 2012, are the fastest-growing age cohort on the platform, and an internal survey found that 40% of users who switched their music streaming subscriptions from another service to Deezer did so because of the company’s “values,” de Place says.

Gen Z streamers are particularly valuable customers because they typically pay for multiple monthly subscriptions and spend on average between $75 and $100 per month on them, according to consumer research firm Civic Science.

Deezer said it renewed 10 major distribution agreements, including with TIM and Sonos, and expanded through half a dozen new distribution agreements with companies including Taiwan’s EDF Entertainment and Brazilian streaming platform Chippu.

The company is developing an expanded offering for partners like Sonos where it allows the company to use its technology so that when someone presses play on a Sonos device, Deezer’s streaming service is what they will hear.

“We are bringing our tech, content and expertise to music professionals that want to integrate music as part of their customer experience,” de Place says. “We want that leg to become significant within the next five years.”

Beyond pure music streaming technology, Deezer says it is making its AI detection tool and Deezer for Professionals available to business customers.

Deezer reported free cash flow of 10 million euros ($11.8 million), with a cash position of 65 million euros ($76.5 million) at the end of 2025.