Punjabi superstar Diljit Dosanjh has teamed up with pop singer Sia and EDM producer David Guetta for a new international collaboration called “Ranjha.”

A snippet of the track was first played publicly on Tuesday (March 10) inside a classroom at Toronto Metropolitan University, where students attending a course dedicated to global star Dosanjh heard an early preview of the song before it drops publicly this Friday (March 13).

Students were stunned as the track played, becoming the first to hear new work by an artist they have been studying all semester.

“This is a huge moment,” said Richard Trapunski, guest lecturer for the course and national editor of Billboard Canada. “This is the first-ever course dedicated entirely to a Punjabi artist, and Diljit was really excited for the students here to be the first people to hear a snippet of his new international collaboration. No one else has heard this before. It feels fitting that you all get to experience this first.”

The single brings together three artists whose careers span different corners of the global music industry. Dosanjh has emerged as one of the most internationally successful Punjabi artists, steadily expanding his reach beyond South Asian audiences, while Sia and Guetta have each built decades-long careers shaping global pop and dance music.

“Ranjha,” released via Warner Music India, pairs Punjabi lyricism with electronic production and pop vocals, reflecting the increasing crossover between South Asian music and mainstream global dance culture.

Diljit previously collaborated with Sia on the 2023 hit “Hass Hass,” which became an international breakthrough and charted on the Billboard Canadian Hot 100. Their new track takes the two collaborators to even bigger heights.

“This track carries that Punjabi heart but opens up to the world in a big way,” Dosanjh tells Billboard Canada. “Working with Sia again felt natural, and having David bring his energy just took it somewhere new. It’s one of those songs that makes you move — but also feel something.”

Guetta says the collaboration appealed to him because of its cross-cultural mix.

“I love when different sounds come together in a fresh way,” he says. “This track has melody, rhythm and attitude, everything I’m drawn to as a producer. Working with Diljit and Sia was a great vibe, and we wanted to make something people could just press play on and feel instantly.”

The release continues a period of rapid international growth for Dosanjh, who has taken Punjabi music to larger stages worldwide from Coachella to The Tonight Show to stadiums in Toronto and Vancouver.

The first-ever course of its kind, “The Music & Influence of Diljit Dosanjh” covers the rise of the artist on the global stage and how he embodies the intersection of culture, identity and global music entrepreneurship. After hearing the song for the first time, the students discussed the track and its relationship in significance to the themes they have studied throughout the course.

“His journey represents far more than commercial success. It stands for cultural pride, creative freedom and global representation for Punjabi and South Asian communities,” said Dosanjh’s manager Sonali Singh when the class was announced. “Seeing his impact formally recognized in an academic space is not only powerful, it’s long overdue.”

Diljit Dosanjh, Sia and David Guetta’s “Ranjha” will be out on all streaming services on Friday (March 13).

This article originally appeared in Billboard Canada.

Britney Spears‘ recent run in with the law will not land her in the hall of fame of celebrity mugshots.

On Tuesday (March 10), Us Weekly reported that the pop star’s mugshot from her recent arrest will not be released publicly. According to the Ventura County Sheriff’s Office, Spears’ booking photo “does not fall within the requirements and is considered discretionary.”

“It is our practice to release booking photos for violent crimes or when an individual is an immediate threat to the public,” a California sheriff’s office official told the publication. “The charges being brought against Brittany Spears does not warrant release in accordance with our policy.”

Spears was arrested by California Highway Patrol on March 4 after being pulled over in Westlake Village, a city in Los Angeles County. According to dispatch audio from the night of Spears’ arrest, she was allegedly spotted by an officer swerving in between lanes and speeding. In a statement to Rolling Stone, The California Highway Patrol shared that Spears had “showed signs of impairment and submitted to a series of field sobriety tests.” Spears was arrested around 9:30 p.m. PT for suspicion of driving under the influence. She was booked into the Ventura County Main Jail around 3 a.m. PT. The star was released three hours later around 6 a.m. PT on March 5.

In a statement made to Billboard on March 5, a representative for Spears said that the the incident was “unfortunate” and “inexcusable.”

“Hopefully she can get the help that she needs,” the rep said. “Her loved ones are going to come up with an overdue needed plan to set her up for success for well being.”

Spears, who has since the arrest deactivated her Instagram, is set to appear in court for a hearing on May 4.

Radio is ready for a double-dose of Taylor, as “Elizabeth Taylor” is the newly promoted single from Taylor Swift’s album The Life of a Showgirl.

The track is trending toward a debut on the March 21-dated Pop Airplay, Adult Pop Airplay and Adult Contemporary charts. Among early supporters of the song are SiriusXM’s Hits 1 and The Pulse, iHeartMedia’s WHTZ (Z100) New York and Bonneville International’s KMVQ (99.7 NOW) San Francisco, according to Mediabase (which provides airplay data to Luminate for Billboard’s radio rankings).

“Elizabeth Taylor” follows “The Fate of Ophelia” and “Opalite” as the first two radio singles from The Life of a Showgirl. On Pop Airplay, the latter two songs — with all three co-written and co-produced by Swift, Max Martin and Shellback — became Swift’s record-extending 14th and 15th No. 1s, respectively. They also marked her 14th and 15th leaders on Adult Pop Airplay, with “Opalite” tying her with Maroon 5 for the most in the chart’s history. Both have also hit the Adult Contemporary top 10, pushing her total to 21 career visits to the region.

The Life of a Showgirl, on Republic Records, launched with a record-obliterating 4.002 million first-week equivalent-album units last October, becoming Swift’s 15th Billboard 200 No. 1, the most among soloists. “Elizabeth Taylor” simultaneously debuted at its No. 3 high on the Billboard Hot 100, as the set’s songs occupied the chart’s top 12 spots, the most for an artist from No. 1 on down in a single week.

Swift last boasted three radio singles from an album via 2022’s Midnights: “Anti-Hero,” “Lavender Haze” and “Karma.”

All charts dated March 21 will update Tuesday, March 17, on Billboard.com.

Gordon Anderson, a key promotions architect during CBS Records’ late-’70s and early-’80s commercial dominance and later a respected label executive at Manhattan and Savage Records, has died at 79. The industry veteran passed away peacefully on Tuesday (March 10) in Florida, surrounded by family, following a brief illness.

Born to Gordon and Ethel Anderson in postwar Duluth, Minn., Anderson earned a reputation over the years as a true-blue, old-school executive — generous with his time, unfailingly courteous, and especially attentive to colleagues a generation younger. “He made a point of including me in the world around him,” recalls former mentee Joel Klaiman. Sharp-dressed and quick with a story, he paired sage, practical advice with an easy smile, the kind of presence that put rooms at ease and opened doors for others.

Anderson began his music-industry career in 1967 as program director and on-air talent at Chicago’s WLS-FM, where he became one of the city’s early champions of the emerging progressive-rock format. There, he also met Kathleen — then a receptionist and occasional on-air voice at the station — who would become his wife of 56 years. His program, Spoke — a name he adopted as his own moniker for years — quickly became a showcase for adventurous album-oriented programming. In a Billboard profile from March 1968, Anderson explained that “Spoke” stood for “the flesh that holds the wheel of life together,” a fitting title for a DJ intent on expanding the boundaries of rock radio.

He made the move to the label side with CBS Records in 1969 as a local promotion manager in Chicago, rising by 1972 to regional promotion marketing manager. By 1975 he had moved east and advanced to director of sales and artist development, and in 1976 to national director of promotion for CBS’s Associated Labels, overseeing campaigns for imprints including Epic and Columbia. In early 1982, CBS promoted Anderson to vice president of national promotion for the Associated Labels group, where he worked closely with the company’s legendary president and CEO Walter Yetnikoff. Elevated alongside him that year was his friend Frank DiLeo, who would later manage Michael Jackson — CBS/Epic’s biggest star — and eventually reunite with Anderson at the independent label Savage Records.

During these CBS years, Anderson also became “best and loyal friends” with legendary A&R executive Lennie Petze, who reflected on their 50-year bond in a statement: “Gordon and I were both offered new positions in New York with CBS Records in 1975 — Gordon from Chicago and me from Boston. We both settled our families in Connecticut and that began a long and lasting friendship through good times and not so good times. Gordon was an incredible music person and his love for the music and the artists he worked showed as gold and platinum awards were credited to his hard work in the promotion field. Through it all we watched out for each other; even after years and miles separated us he was always just a phone call away. I’m so glad I got to see him last week and we did share some fond memories, but saying goodbye was one that hurt.”

From 1975 to 1984 — matching Anderson’s tenure as a sales and promotions executive — CBS Records dominated both the commercial and cultural landscape of popular music, releasing numerous era-defining albums across pop, rock, R&B and adult contemporary. During those years, CBS imprints Columbia and Epic issued the biggest rock albums of the period from Bruce Springsteen, Journey, Boston and Chicago, while also delivering some of the best-selling pop releases in history, including Michael Jackson’s Thriller and Off the Wall, as well as breakthroughs like Cyndi Lauper’s Petze-executive-produced She’s So Unusual. The company shepherded landmark singer-songwriter achievements by Billy Joel and Bob Dylan, and helped shape the sound of modern funk through Earth, Wind & Fire. Those releases produced radio staples that still endure — and placed Anderson and his promotions department at the center of one of the most influential stretches in CBS history.

After leaving CBS, he served as president of Pinstripe Enterprises, a marketing and promotion consultancy, before joining the then-emerging Manhattan Records in early 1985. Created by EMI to, in the words of president Bruce Lundvall, “pursue artists in the broadest spectrum of rock, pop and Black music,” the label tapped him as vice president of promotion. During his tenure, he helped drive campaigns for releases ranging from Grace Jones’ Slave to the Rhythm to the Little Steven–led Artists United Against Apartheid project and its landmark single “Sun City,” among others.

The late 1980s also brought a new chapter as Anderson added “label founder” to his résumé with the launch of Grudge Records, a New York–based hard-rock and metal imprint distributed by BMG. Grudge became known for a fast-moving slate from acts including Deadringer, Jersey Dogs, The Godz, Killer Dwarfs, Wolvz and Crack the Sky, and — true to its era — waded into the period’s so-called metalploitation wave, when some labels assembled studio players for low-budget metal LPs rushed to market amid the genre’s mid-to-late-’80s boom.

By 1992, Anderson reunited with former CBS colleague Frank DiLeo at the high-profile but short-lived Savage Records as general manager and vp of promotion. Bankrolled by racing impresario David Mimran and distributed by BMG, Savage made headlines signing David Bowie to a three-album pact and issuing his 1993 LP Black Tie White Noise — only to fold mid-campaign as funding and leadership issues came to a head. Beyond Bowie, Savage’s roster touched multiple corners of early-’90s rock and pop, including Gene Loves Jezebel, Saints & Sinners and the licensed U.K. outfit Soho (“Hippychick”). As the story goes, Mimran’s generous offers lured marquee names and executives alike, but DiLeo’s exit on the eve of Bowie’s Black Tie rollout left a vacuum that hastened Savage’s collapse.

For all its brevity, Savage left an outsized imprint on the industry: it launched Jacqueline Saturn — today president of Virgin Music Group North America and evp of global artist relations — from a front-desk role, and counted Joel Klaiman — later a top executive at Columbia and Republic, now founder of Ascend4m — as its national alternative promotion manager. As both executives now tell it, Anderson contained multitudes in an office of upstarts.

For Saturn, Savage “was an exciting place full of young creatives,” a startup still “learning what it meant to build a real business.” When Anderson walked in dressed to the nines, “he brought exactly the leadership we needed.” She remembers him as “a true executive — always impeccably dressed in a suit,” a quiet cue that “even in this business you should show up looking the part.” More than presentation, it was presence: “He always made time to bring us into his office, offer guidance, and share a few wise words. He was kind, generous with his time, and always had a big smile. He taught me so much early in my career, and I’ll always be grateful for his mentorship.”

Klaiman calls Anderson “my first real boss in the music business,” and the person who “had a lasting impact on me.” Anderson, he says, was “generous with opportunity — often giving me chances before I was fully ready,” then shepherding him through the learning curve. Day to day, Anderson “made a point of including me in the world around him,” waving him in when visitors arrived — and afterward explaining who people were and how their roles fit together. “Looking back, I realize he was teaching me how the business worked in real time.”

Klaiman also remembers Anderson’s small, intentional gestures: “He believed deeply in follow-through,” loved handwritten notes, and kept “a favorite pen and stationery he always used.” In a room of ambitious twenty-somethings, “Gordon stood out” and was a “wonderful storyteller, sharing his experiences in the music business in ways that were both entertaining and instructive.” Beyond the office, they bonded over sports and golf, “and he often spoke about the importance of family and how much he cared for his own.”

“Gordon was truly a character — funny, warm, and deeply likable to those he connected with,” Klaiman adds. “One of my favorite memories was hearing him say, ‘Joel, Jacqueline come on in here and sit down — I want to talk to you about something.’ Those moments shaped more of my early career than he probably ever realized. I learned a lot from Gordon Anderson, and I’m grateful for the time I had working with him.”

After leaving Savage, Anderson stepped back from the label world and turned his attention to new ventures, serving as founder and CEO of Music Corps Inc. and also working with Drew’s Music. Away from the industry, he devoted himself to family — he and Kathleen made their home in Wilton, Conn., for many decades — and to golf, where he developed a six‑handicap and earned a reputation as a formidable competitor. In one oft-told story to family, he even outplayed New York Jets legend Joe Namath in a tournament — cheekily offering to trade his trophy for Namath’s Super Bowl ring, a deal the quarterback declined.

Anderson wasn’t the only member of his family drawn to the music business. His younger brother, Pete Anderson, who died in late 2025, built a long and respected career as a sales executive, holding major roles within the distribution arm of CBS Records/Sony Music as well as at Epic Records, Atlantic Records, and the national wholesaler Valley Media.

Anderson was preceded in death by his wife, Kathleen, and his brother, Pete. He is survived by his children — Kelley Weber, Alison Baker and Gordon “Trip” Anderson III — his siblings Joanne Pearson, JoNancy Warren and Cynthia Frazier, and a large family of grandchildren, nieces, nephews and relatives.

Countless ENHYPEN fans are still adjusting to the news that HEESEUNG has left the boy band, with many questioning the reasons behind his departure.

On Tuesday (March 10), label BELIFT LAB announced that the 24-year-old performer would be exiting the group in order to explore a career as a soloist while still signed to the company, something HEESEUNG himself confirmed in a handwritten letter to ENGENEs on Weverse. Still, listeners flooded social media with concern and queries as to why HEESEUNG couldn’t simply pursue independent opportunities while remaining as a member of ENHYPEN, pointing to the way members of BTS, BLACKPINK and other K-pop groups have successfully balanced both in recent years.

But when reached for comment the next day on the matter, BELIFT told Billboard in a statement, “We concluded that allowing HEESEUNG to focus fully on his career as a solo artist, rather than pursuing solo activities within the team, would be the most fulfilling approach for both ENHYPEN and HEESEUNG.”

The response also called back to BELIFT’s initial X post announcing the news of HEESEUNG’s departure. “As we discussed ENHYPEN’s future direction and next goals, the company and the members had in-depth conversations about the future each member envisions as well as the team’s direction,” it read. “Through those discussions, it became clear that HEESEUNG has his own distinct musical vision and we decided to respect it.”

Regardless of the reasoning, the choice to separate from ENHYPEN is certainly emotional for ENGENE. One fan posted Tuesday that their “heart is breaking into pieces” over the news, while another wrote, “just 2 days ago heeseung said that they’re planning to go back to europe so what happened?”

ENHYPEN debuted in 2020, with its lineup featuring HEESEUNG as well as JUNGWON, JAY, JAKE, SUNGHOON, SUNOO and NI-KI. In January, the group topped Billboard‘s Top Artists chart for the first time and debuted at No. 1 on the Top Album Sales chart with THE SIN : VANISH.

In his letter, HEESEUNG expressed gratitude for his time with the band, but explained that it’s time for a new chapter. “The past six years have been filled with moments that are difficult to put into words — moments that were overwhelmingly meaningful, and incredibly precious to me,” he wrote. “As many of you know, I have continued working on personal projects, dedicating a lot of time to them with the hope that one day I could share them with you. There were so many things I wanted to show you, but at the same time, I didn’t want my own ambitions to come before the team.”