Remy Ma’s streaming platform has renamed an upcoming movie originally titled The Biggest Boss after being threatened with legal action from the biggest boss himself, Rick Ross.

Ross’ lawyer sent Ma a cease-and-desist letter on Feb. 26. In the letter, he complained about a trailer for a movie titled The Biggest Boss that was posted on Instagram by Remy Network, a streaming platform launched by the Bronx rapper last fall. An apparent reference to Ross’ nickname that originated from his hit 2008 song “The Boss,” the film tells the story of a prison guard who decides to become a rapper. This storyline is similar to Ross’ own trajectory, as the rapper worked as a correctional officer in Florida before entering the music industry. “The Boss” could also be heard in the background of the trailer.

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“Not only is Ross not profiting from his own tradename and musical work, but also, viewers encountering the trailer are being confused into believing that Ross has approved or is in some way affiliated with the movie,” wrote Ross’ attorney Leron Rogers in the cease-and-desist letter, obtained by Billboard. “This confusion harms Ross and the goodwill associated with his name and brand.”

Ma and her company responded by taking down the original trailer and replacing it with a new one on Wednesday (March 18). The new trailer advertises the movie under a new title, The C.O., and does not include Ross’ music.

It’s unclear, however, if this will fully satisfy Ross. The rapper’s legal threat demanded not just that Ma take down the trailer, but also that she “cease with production of the movie and halt any scheduled release.” The letter warned of potential litigation for copyright infringement and deceptive business practices, noting, “Your client’s liability and exposure under such legal action could be considerable.”

Reps for Ma did not immediately return a request for comment on the matter on Wednesday.


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Vince Gill was 50 years old when he was inducted into the Country Music Hall of Fame, making him the second-youngest person to achieve the honor. Now, he’s advocating for an even younger star to make the cut.

In a recent episode of Rolling Stone‘s podcast Nashville Now, Gill talked about his 2007 induction into the Hall. At the time, he says he feared that the honor came too soon.

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“I was grateful. There was a part of me that kind of thought, ‘A little early,’ honestly,” Gill says in the interview. Once he was inducted, he committed himself to working even harder on his craft. “What I wanted to do after the fact was earn it.”

Gill has certainly made good on this commitment. Over the course of his 50-year career, the “Go Rest High on That Mountain” singer has amassed 63 Billboard Hot Country Songs hits, five of which topped the chart. A whopping 16 of his albums have hit the Billboard 200. Now, as Gill works on his series of EPs, 50 Years From Home, he is looking at the success of an artist who came after him.

Another all-time chart-topper, Taylor Swift could be eligible for the Country Music Hall of Fame’s Modern Era category this year. To be inducted, the category requires “20-plus years since national prominence.” Swift’s debut self-titled album featuring her breakthrough single “Tim McGraw” was released in 2006, making this year the first she may be eligible, depending on the definition of “national prominence.”

No stranger to the Hall, Gill believes that Swift will one day be inducted into it. “I think they’ll put her in there. Why wouldn’t you?” he says. He also reveals that she’s one of the Country Music Hall of Fame’s biggest donors. “I’m crazy about her. I fully support that.”

If Swift, who is currently 36 years old, were to be inducted into the Hall this year or any time in the next decade, she would be the youngest person to ever do so. There’s a tie for current youngest: Johnny Cash and Eddy Arnold were both inducted at age 48.

AEG Presents has revealed the first wave of artists slated to perform at London’s much-anticipated new venue, the British Airways ARC, as it gears up to open its doors this summer.

Kicking off the venue’s opening run is Self Esteem, who will headline two nights on June 16 and 17. The launch lineup continues with pop-rock favorites McFly (June 18) and country group Zac Brown Band (June 25). Khalid is also booked for a show Oct. 24, marking his first U.K. headline date since a run of Free Spirit arena dates in late 2019.

In addition, the venue is positioning itself as a hub for musically diverse programming through a new partnership with the EFG London Jazz Festival. The collaboration will launch with a special performance from saxophonist Branford Marsalis and vocalist Dianne Reeves on Nov. 21, celebrating the legacy of jazz icon John Coltrane.

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In a statement, Lucy Noble, AEG’s senior vice president (U.K. venues), said: “We are very proud of our newest venue and to have this lineup of the first incredible artists set to play is a fantastic way to begin the British Airways ARC story. When fans come to see shows at British Airways ARC, they are going to be able to enjoy world-class facilities across everything from sound to seating and we really can’t wait to open the doors.”

Situated within the new Olympia redevelopment, the British Airways ARC is a 3800-capacity concert hall aiming to become a key destination on London’s live music circuit. It is part of a £1.3 billion ($1.7 billion) renovation of the 138-year-old event space and conference centre in Kensington, west London, which was originally built to stage agricultural and military shows.

In addition, the revamped Olympia will also feature a 1,575-seat theatre, a host of bars, restaurants and eateries, two hotels and office space. AXS will provide ticketing services for British Airways ARC.

Over time, Olympia has played host to some of the most iconic artists in music, including Jimi Hendrix, Rod Stewart, Primal Scream, The Cure and The Chemical Brothers.

AEG Presents oversees an extensive portfolio of venues and live events across the U.K., including the renowned BST Hyde Park summer concert series. The company also programs venues such as the recently reopened Watford Colosseum, Indigo at The O2 and Eventim Apollo.


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Afroman won a jury verdict Wednesday (March 18) clearing him of wrongdoing in a lawsuit filed by seven Ohio police officers, who claimed the rapper defamed them by releasing music videos that mocked them after a failed raid on his home.

The verdict came in an unusual lawsuit filed by members of an Ohio county sheriff’s department over songs and social media posts by Afroman (Joseph Foreman) that harshly criticized the guns-drawn 2022 raid on his property, which yielded no charges.

The case claimed the videos were false and caused the officers severe emotional distress. But Afroman, known for his 2000 hit “Because I Got High,” testified at trial that he had a First Amendment right to mock the officers, particularly after they smashed down his door for ultimately no reason: “All of this is their fault, and they have the audacity to sue me.”

After just hours of deliberation on Wednesday, the jury sided entirely with Afroman, clearing him of liability for defamation or invasion of privacy: “In all circumstances, the jury finds in favor of the defendant,” Judge Jonathan Hein said, speaking to the rapper, the accusers, and their lawyers. Afroman briefly bowed his head, but otherwise showed no emotion after the verdict was read.

The verdict ended a three-day trial that captivated social media with outlandish moments from the courtroom, including Afroman mounting a colorful defense from the witness stand in a flamboyant American flag suit; one of the deputies crying repeatedly as a video insulting her played for more than 10 minutes; and a testy exchange in which Afroman’s lawyer asked another deputy if his wife was cheating on him.

The outcome is a major win for Afroman, who could have faced a whopping $3.9 million damages award if he’d lost. Attorneys for both sides did not immediately return requests for comment on Wednesday.

In August 2022, the Adams County Sheriff’s Department raided Afroman’s home with guns drawn, smashing down his door and seizing $5,031 in cash and other property. They had a search warrant on suspicions of drug trafficking and kidnapping, but no wrongdoing was uncovered, no charges were ever filed and the money was later returned.

After the search, Afroman used his own surveillance camera footage to create music videos and other social posts mocking the officers. In a video for a song called “Lemon Pound Cake,” he ridiculed one deputy for apparently eying a cake on his counter. In another social media post, he included images of officer Lisa Phillips alongside graphic statements about her anatomy and sexuality.

In 2023, Phillips and six others (Shawn D. Cooley, Justin Cooley, Michael D. Estep, Shawn S. Grooms, Brian Newland and Randolph L. Walters, Jr.) filed a civil lawsuit claiming they’d suffered “emotional distress” and been “subjected to threats, including death threats” because of Afroman’s posts.

At trial in Adams County this week, Afroman told jurors from the witness stand that he had a constitutional right to make such artistic and critical content, particularly about government officials. That argument echoed what the American Civil Liberties Union wrote in 2023, when it call the lawsuit against Afroman “nothing short of absurd.”

“I got freedom of speech. After they run around my house with guns and kick down my door, I got the right to kick a can in my back yard, use my freedom of speech, and turn my bad times into a good time, yes I do,” he told jurors on Tuesday. “And I think I’m a sport for doing so, because I don’t go to their house, kick down their doors [and] then try to play the victim and sue them.”

In another flashy moment on the stand, Afroman explained to jurors why he had later invited a local television news crew to accompany him to the sheriff’s station to get his money back – not because he wanted publicity, but because he feared for his safety.

“I didn’t wanna get beat up or Epstein’d at the sheriff’s station after I seen them running around my house with AR15s,” the rapper said, referring to persistent internet rumors that infamous sexual abuser Jeffrey Epstein’s prison suicide was staged and he was actually murdered. “That’s why I brought the news and my attorney.”

The Adams County deputies themselves also took the stand, including Shawn D. Cooley, the officer Afroman referred to as “Officer Poundcake,” who watched that music video in the courtroom. When Phillips got on the stand, she wept as a long video played in which Afroman labeled her “Licc’em Low Lisa” and crudely suggested that she was lesbian.

During one heated exchange, Randolph L. Walters, Jr. testified about a video in which Afroman repeatedly says that he had sex with the officer’s wife. Walters said listeners had understood that statement as factual and that it had caused him “tremendous pain.”

“But we all know that’s not true, right?” fired back David Osborne, the rapper’s lawyer, to which Walters that he didn’t know. “You don’t know if your wife’s cheating on you or not?” Osborne then asked, prompting Walters to angrily glare back and ask, “You wanna go there?”

“No I just wanna ask that question since you said we don’t know,” said Osborne, seemingly trying to suggest to jurors that the statement couldn’t be proven true or false, a key requirement of a defamation claim.

In their closing statements on Wednesday, attorneys for both sides clashed over the lofty free speech issues raised by Afroman’s defense. Robert Klingler, the lawyer for the officers, told the jury that Afroman had “perpetuated lies intentionally” for years about public servants who had “risked their lives for this county for years” – and that his framing of the case as a First Amendment battle was “legally wrong.”

“Mr. Foreman doesn’t get to wrap himself in the American flag and say you can’t touch me, I can say what I want, no matter how untrue it is, no matter how much pain it causes people, because I have freedom of speech,” Klingler said. “He can’t do that.”

Osborne quickly fired back that he can, in fact, do that. In a closing statement that cited NWA’s “Fuck Tha Police” and Richard Prior’s comedy acts, Osborne told jurors that powerful public officials cannot use the courts to “silence” criticism simply because it hurt their feelings.

“I’m sorry they feel the way they do, but there’s a certain amount that you have to take as a public official, it’s part of the duties of the job,” Osborne said. “What chilling effect does that have on the world we live in? You don’t like what a public official does and you make a joke, and you’re dragged into court?”

She may not be a royal, but her breakthrough music video has been crowned as part of YouTube’s Billion Views Club.

The music video for Lorde‘s debut single “Royals” has officially racked up 1 billion views on YouTube — the New Zealand singer’s first song to achieve this feat.

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“Royals” is the lead single from Lorde’s 2013 debut studio album Pure Heroine. The track topped the Billboard Hot 100 for nine weeks, making a then-16-year-old Lorde the youngest chart-topper since 1987, when “I Think We’re Alone Now” by Tiffany hit No. 1. The song would go on to receive Grammy nominations for record of the year, song of the year and best pop solo performance, with wins for the latter two. After “Royals,” Pure Heroine — which hit No. 3 on the Billboard 200 — spawned three more Hot 100 hits with “Team” (No. 6), “Tennis Court” (No. 71) and “Glory and Gore” (No. 68). In the years since she debuted, Lorde has released three more Billboard 200 top five studio albums, including her chart-topping sophomore album Melodrama.

Lorde’s four studio albums have all been released under a contract she signed with Universal Music Group when she was 12 years old. Also on Wednesday (March 18), the “Supercut” singer announced that her label contract expired last year and that she’s looking forward to starting over with a “clean slate.”

“I feel a feeling of openness and possibility, and I’m inspired,” she said in a series of voice notes sent to fans. “It just feels exciting to have removed the container or something for a second.”

As we look forward to what the future holds for Lorde, we can all join the ranks and watch the “Royals” video below.

Clipse and Mavis Staples, who each won Grammys on Feb. 1, and Hayley Williams, who received multiple Grammy nominations this year, are among the nominees for record of the year at the 2026 Libera Awards, which will be presented on Monday, June 8, at the historic Gotham Hall in New York City.

The nominations were announced on Wednesday (March 18) by The Foundation for Independent Music (FIM), with support from A2IM (The American Association of Independent Music, Inc.). The 2026 Libera Awards, presented by Merlin, feature 38 categories honoring the best in independent music.

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Clipse’s Let God Sort Em Out, which was nominated for both album of the year and best rap album at the Grammys; Williams’ Ego Death at a Bachelorette Party, which was nominated for best alternative music album; and Staples’ Sad and Beautiful World, which housed her pair of Grammy-winning tracks, “Godspeed” and “Beautiful Strangers,” are vying for record of the year at the Libera Awards, along with Geese’s Getting Killed, Oklou’s choke enough, Oneohtrix Point Never’s Tranquilizer and Wednesday’s Bleeds.

Geese, which is regarded as a leading candidate for a best new artist Grammy nod later this year, is nominated for breakthrough artist at the Libera Awards, along with Gelli Haha, Lambrini Girls, Nourished by Time and Water From Your Eyes.

Wet Leg’s “mangetout,” a track from the band’s 2025 album Moisturizer that was featured in the smash miniseries Heated Rivalry, is among the nominees for Best Sync Usage.

The Libera Awards also introduced a new category this year: Independent Record Store of the Year. Nominees are Amoeba Music, The Electric Fetus, Grimey’s New & Preloved Music, Music Millennium, Plaid Room Records, Rough Trade NYC, Turntable Lab and Waterloo Records.

“We are delighted to announce today the 2026 Libera Awards nominees and share a big congratulations to all of the talented artists and hard-working members of the independent music industry, who are truly deserving of these accolades,” Ian Harrison, CEO of A2IM, said in a statement. “Their talent, ambition, drive and creativity have expanded our horizons as both an industry and simply as music fans.”

This 15th annual awards ceremony will once again be hosted by Delisa Shannon, Billboard’s short-form content director. The Libera Awards will kick off the Indie Week conference, which is set to begin the following morning, Tuesday, June 9, and run through Thursday, June 11, at the InterContinental New York Times Square.

Here’s a full list of the nominees for the 2026 Libera Awards Presented by Merlin:

Afroman and seven police officers who sued him for defamation wrapped up their trial on Wednesday (March 18), capping off a courtroom clash that saw the rapper defend himself from the witness stand: “All of this is their fault, and they have the audacity to sue me,” he said.

The rapper, known for his 2000 hit “Because I Got High,” testified this week that he had a First Amendment right to mock the officers in scathing social media posts after they aggressively raided his home in a guns-drawn search that ultimately saw no charges filed.

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“I got freedom of speech. After they run around my house with guns and kick down my door, I got the right to kick a can in my back yard, use my freedom of speech, and turn my bad times into a good time, yes I do,” he told jurors on Tuesday. “And I think I’m a sport for doing so, because I don’t go to their house, kick down their doors [and] then try to play the victim and sue them.”

The unusual case against the rapper (Joseph Forman) was filed in 2023 by members of an Ohio county sheriff’s department who conducted the 2022 raid on his property. After the search, Afroman released numerous videos mocking the officers, including one that called a particular deputy “Officer Poundcake.”

The lawsuit claimed the posts caused them severe emotional distress and even led to death threats. But it has rankled free speech advocates like the ACLU, which has called the case an attack on the First Amendment and “a meritless effort to use a lawsuit to silence criticism.”

That case went to trial this week in a small Ohio courthouse, featuring testimony from both the rapper and his accusers. And in their closing statements on Wednesday, attorneys for both sides clashed over the lofty free speech issues raised by Afroman’s defense.

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Robert Klingler, the lawyer for the officers, told the jury that Afroman had “perpetuated lies intentionally” about public servants who had “risked their lives for this county for years” — and that his framing of the case as a First Amendment battle was “legally wrong.”

“Mr. Foreman doesn’t get to wrap himself in the American flag and say you can’t touch me, I can say what I want, no matter how untrue it is, no matter how much pain it causes people, because I have freedom of speech,” Klingler said. “He can’t do that.”

David Osborne, the rapper’s lawyer, quickly fired back that he could, in fact, do exactly that. In a closing statement that cited NWA’s “F–k Tha Police” and Richard Pryor’s comedy acts, Osborne told jurors that powerful public officials cannot use the courts to “silence” criticism simply because it hurt their feelings.

“I’m sorry they feel the way they do, but there’s a certain amount that you have to take as a public official, it’s part of the duties of the job,” Osborne said. “What chilling effect does that have on the world we live in? You don’t like what a public official does and you make a joke, and you’re dragged into court?”

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Earlier in the week, the Adams County deputies themselves took the stand, including Shawn D. Cooley, the officer Afroman referred to as “Officer Poundcake,” who watched that music video in the courtroom. Another officer, Lisa Phillips, later wept on the witness stand as a long video played in which Afroman labeled her “Licc’em Low Lisa” and suggested she was a lesbian.

During one heated exchange, another officer, Randolph L. Walters, Jr., testified about a video in which Afroman repeatedly says that he had sex with Walters’ wife. Walters said listeners had understood that statement as factual and that it had caused him “tremendous pain.”

“But we all know that’s not true, right?” Osborne fired back — to which Walters said that he didn’t know. “You don’t know if your wife’s cheating on you or not?” Osborne then asked, prompting Walters to angrily glare back and ask, “You wanna go there?”

“No, I just wanna ask that question since you said we don’t know,” said Osborne, seemingly trying to suggest to jurors that the statement couldn’t be proven true or false, a key requirement of a defamation claim.

In another flashy moment of testimony, Afroman explained to jurors why he had later invited a local TV news crew to accompany him to the sheriff’s station to get back the $5,031 the cops seized — not because he wanted publicity, but because he feared for his safety.

“I didn’t wanna get beat up or Epstein’d at the sheriff’s station after I seen them running around my house with AR15s,” the rapper said, referring to persistent internet rumors that infamous sexual abuser Jeffrey Epstein’s prison suicide was staged and that he was actually murdered. “That’s why I brought the news and my attorney.”

Following Wednesday’s closing statements, the jury began deliberating on whether the deputies had proven that Afroman was liable for defamation and false light invasion of privacy. If the jury sides with the officers, Klingler asked them to award a whopping $3.9 million in damages.


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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: The big winners in the music categories at this year’s Oscars see gains for their victorious works, while an already-minted Tame Impala hit gets new life through a viral remix with a K-pop co-star and an ’00s dance hit goes global for a second time.

‘Sinners’ & ‘Kpop Demon Hunters’ Turn Oscar Wins into Streaming and Sales Gains 

On Sunday night (March 15), Ryan Coogler’s Sinners took home four Academy Awards, including a third best original score statuette for composer Ludwig Göransson. “Golden,” the Billboard Hot 100-topping Kpop Demon Hunters smash, added a best original song Oscar to its lengthy list of accolades, marking the first time a K-pop song has received such an honor. 

To top it all off, this year’s Oscars telecast featured live performances of the music from both films. While EJAE, Rei Ami and Audrey Nuna (the singing voices of HUNTR/X) brought light sticks to the Dolby Theatre, Sinners star Miles Caton led a star-studded ensemble in a reimagining of the horror film’s iconic juke joint scene. Featuring additional Sinners cast members Jayme Lawson, Li Jun Li, Buddy Guy and Jack O’Connell, the “I Lied to You” medley also featured Sinners soundtrack contributors Brittany Howard and Alice Smith, Grammy-winning country star Shaboozey, best original song nominee Raphael Saadiq, Grammy-nominated blues rock guitarist Eric Gales, Grammy-winning blues artist Bobby Rush and history-making Black ballerina Misty Copeland. 

According to early data provided by Luminate, the Sinners compilation soundtrack collected 756,000 official on-demand U.S. streams the day after the Oscars (March 16), marking a 150% jump from the 301,000 official streams it logged the week prior (March 9). I Lied to You,” which lost the best original song Oscar to “Golden,” earned over 154,000 official on-demand U.S. streams the day after the ceremony (March 16), up 240% from the 45,000 streams it pulled the week prior (March 9). 

Meanwhile, the KPop Demon Hunters soundtrack received 5.1 million streams the day after the Academy Awards. The Billboard 200-topping set also sold over 2,000 U.S. digital downloads in the same frame, good for a 282% jump in sales. “Golden,” the film’s signature hit, collected 1.68 million official on-demand U.S. streams following Sunday night’s telecast (March 16). The smash hit, which also picked up a Grammy in February, also sold over 1,6000 U.S. digital downloads, marking a whopping 608% increase in sales. 

Awards season may finally be over, but Sinners and KPop Demon Hunters both delivered eternal hits. — KYLE DENIS 


Tame Impala and JENNIE Run to the Viral Sunlight With “Dracula” Remix

It was an unexpected, though perhaps not altogether shocking pairing: Kevin Parker of Tame Impala, underground hero turned late-arriving crossover pop star, joining forces with JENNIE, solo star from BLACKPINK, for a new spin on “Dracula,” Tame’s breakout 2025 smash. “Dracula” has been on the Hot 100 for 24 weeks now, peaking at No. 30 in late 2025, with the remix giving it a new boost of streams upon its debut in early February. 

As is usually the case, that boost started to recede in the weeks after the remix’s release. But that trend has reversed course now, thanks to the JENNIE-featuring version of “Dracula” finding itself at the center of a new TIkTok trend — in which lip-syncers (usually in pairs) walk towards the camera, soundtracked by the song’s dark disco strut, for the section of the remix where Parker calls himself “Mr. Charisma” and JENNIE’s friends tell her to shut up and just get in the car. (JENNIE herself participated in the trend on Mar. 9.) 

For the tracking week ending Feb. 12 — the first period of the remix’s release — ”Dracula” amassed 7.2 million official on-demand U.S. streams, according to Luminate. After falling the next couple weeks, the song rebounded to 7.7 million streams for the week ending Mar. 5, and then 8.6 million the week ending Mar. 12. The song has since climbed back into the Hot 100’s top 40, sitting at No. 37 this week — with its original No. 30 peak certainly in its sights if the song continues to sink its fangs into TikTok and streaming audiences. — ANDREW UNTERBERGER


Nascent Alt-Rock Outfit Temper City Makes a Streaming Splash with Debut Single 

Temper City has virtually no digital footprint, but it’s already earned a rising hit. The enigmatic band has taken over TikTok relatively quickly, thanks to a snippet campaign for its “Self Aware” debut single, which it released on Feb. 15 via L.A.-based indie label Thirty Knots. Notably, Thirty Knots is the same company behind Nicky Youre’s “Sunroof,” which leveraged TikTok virality into an MTV VMA-nominated Hot 100 top five hit (No. 4) in 2022. 

The alt-rock outfit, which appears to be a trio according to the few performance clips posted to its official social media accounts, began posting teasers of the single on Jan. 28. The clips featured the band recording the song in the middle of the desert, with the snippet highlighting the back half of the pre-chorus and the first half of the chorus. The song quickly went viral on TikTok, thanks to its sonic similarities to 2010s indie rock bands like Cage the Elephant and The Neighbourhood, as well as its emotional lyrics. The official TikTok sound currently boasts nearly 150,000 clips. 

“Self Aware” earned 128,000 official on-demand U.S. streams during the week of Feb. 13-19, which only accounts for a few days of tracking considering the song’s Sunday release. That figure vaulted 201% to 388,000 official streams the following week (Feb. 20-26), only to rise a further 118% to 849,000 official streams the week after that (Feb. 27-March 5). By March 6-12, “Self Aware” pulled over 1.12 million official weekly streams, marking a 32% jump. Over the past three weeks, “Self Aware” has exploded an impressive 770% in streaming activity — and that growth is poised to continue should TikTok (and social media at large) continue its love affair with Temper City’s debut single. — KD 


‘00s European Dance Hit “Just the Way You Are” Revived by New Australian Remix

No, not that “Just the Way You Are.” And no, not THAT one either. The “Just the Way You Are” currently going viral in the U.S. has nothing to do with either Billy Joel’s or Bruno Mars’ radio-conquering, Grammy-winning, wedding-soundtracking megaballads of the same name. Rather, this one comes from Italian house outfit Milky, whose euphoric, Go-Betweens-sampling “Just the Way You Are” was a Dance Radio Airplay-topping hit in the U.S. and a top 10 hit in the U.K. back in 2002. 

The song was reintroduced to global audiences in the mid-2020s thanks to interest in a new remix from Australian DJ/producer Mall Grab, which helped the original also catch fire on TikTok. Ultimately, the dual popularity of the two version sent the song back onto charts around the world — including in the U.K., where it got all the way back to No. 11 on the Official Singles Chart earlier this March, and in Australia, where it beat its original peak of No. 47 by getting to No. 27. 

Now the song is starting to take off on U.S. shores as well. With help from influential TikTokers like NBA rising star Jared McCain — who has used both the original and the remix in multiple videos — the song began to cross over to stateside streaming success. After amassing under 50,000 official on-demand U.S. streams for the week ending Jan. 1, the song is up to over 2.7 million streams for the week ending March 12, according to Luminate. It reaches a new peak of No. 7 on Billboard’s Hot Dance Songs chart this week, and if its growth continues, it could soon be on the verge of its first-ever appearance on the Hot 100. – AU


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Lorde is feeling ready for change after her contract with Universal Music Group expired last year, the pop star announced Wednesday (March 18).

In a voice note sent to fans ahead of her run of Ultrasound festival shows, Lorde revealed that after about 17 years, she’s no longer with her first label home.

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“At the end of last year, my label deal — my record contract with Universal — came to an end,” she shared. “I have been in that contract for a very, very long time, in some form … since I was 12 years old, when I signed my first development deal with Universal.”

“I adore them there,” she continued, emphasizing her love for the “incredible people” that facilitated the release of her first four albums, starting with 2013’s Pure Heroine. “I’ve had an amazing experience with them. But the truth is that a 12-year-old girl pre-sold her creative output before she knew what it would be like, and before she knew what she was signing away.”

Now 29, Lorde added that she’s “sure [she’ll] have a deal again” in the future, and it could very well be with Universal — but for now, she “needed to take a second to have nothing being bought or sold that comes from [her].”

“When I see an opportunity for a clean slate, I try to take it,” the Grammy winner concluded. “And it does feel different … I feel a feeling of openness and possibility, and I’m inspired. It just feels exciting to have removed the container or something for a second.”

Billboard has reached out to Lorde’s rep and Universal for comment.

Other ways the singer is embracing new beginnings are by working toward her driver’s license –“I’m studying for my permit … I must be a licensed driver before I turn 30,” she said with a laugh in the voice — and renting her first-ever office space. “I signed a lease on an office — study, studio, workspace, I don’t know what to call it,” she revealed. “I don’t even really know what I’m going to do with yet … I’ve run all of this from my bed forever, and I am excited to see what having a bit more of a formalized space for all my crap will look like.”

Lorde has certainly had a successful run while signed to Universal. In 2013, she struck fame with the success of first single “Royals,” which spent nine weeks at No. 1 on the Billboard Hot 100. After her debut album, she’d go on to release Melodrama in 2017, Solar Power in 2021 and, most recently, Virgin in 2025. All of her LPs have charted in the top five of the Billboard 200.

As she explores life as an unsigned artist, the musician is gearing up to headline a number of festivals, including BottleRock Napa Valley in California and the Governor’s Ball in New York City. One day prior to her new voice note, it was announced that she’ll also lead the Lollapalooza 2026 bill alongside Charli xcx, JENNIE, Tate McRae, Olivia Dean and more.


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BMG has sued Anthropic for copyright infringement, joining the ranks of other large music rightsholders that have entered the AI litigation fray.

The various publishing arms of BMG filed a lawsuit on Tuesday (March 17) against the behemoth company, which is behind the popular AI chatbot Claude. BMG alleges the model was trained on lyrics from unlicensed songs, including Billboard Hot 100 chart-toppers like Ariana Grande’s “7 Rings” and Bruno Mars’ “Uptown Funk,” and now spits out infringing lyrics when prompted.

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“Anthropic has blatantly violated the copyright laws and caused direct harm to BMG and the songwriters it proudly represents,” reads the lawsuit, filed on BMG’s behalf by powerhouse entertainment law firm Manatt Phelps & Phillips. “Generations of inventors have brought revolutionary new products to market while complying with copyright law. Anthropic’s rapid development of its new technology is no excuse for its egregious law-breaking.”

The lawsuit closely resembles separate copyright litigation already brought against Anthropic by Universal Music Publishing Group (UMPG), Concord Music and ABKCO Music. It’s not clear why BMG opted to bring its own case rather than join the other publishers, who’ve been fighting Anthropic in court since 2023. Notably, Billboard recently reported that BMG and Concord are in talks to merge.

BMG says in Tuesday’s complaint that it sent a cease-and-desist letter to Anthropic in December, but that the AI company never responded. A BMG spokesperson told Billboard on Wednesday (March 18) that Anthropic’s conduct “stands in direct opposition to the standards required of any responsible participant in the AI community.”

“Protecting the rights of those who entrust their life’s work to BMG is essential. Building an industry on the backs of our songwriters, recording artists, and producers, without permission or compensation, is never acceptable,” said the BMG spokesperson. “We believe that, with appropriate permissions, generative AI can serve as a tool to enhance creativity rather than replace it, and that different segments of the music industry may benefit from it in different ways. However, copyright protection and fair remuneration are non-negotiable.”

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Anthropic did not immediately return a request for comment on the lawsuit.

Just like other music publishers’ existing Anthropic litigation, the BMG complaint alleges that Claude infringes its song lyrics in both the training process (inputs) and chatbot responses (outputs). This differentiates the publisher cases from separate copyright lawsuits brought by the major record labels against AI music generators Suno and Udio, which are focused only on unlicensed training.

On the input side, BMG claims Anthropic has infringed its intellectual property by including copyrighted lyrics in Claude’s “enormous” training set. According to the lawsuit, the training materials include text scraped from the BMG-licensed lyric libraries MusicMatch and LyricFind and sheet music books that include the work of major artists like The Rolling Stones and Justin Bieber.

BMG alleges Anthropic obtained much of this training material by torrenting files from illegal pirate libraries. This is key because a judge ruled in a different case this summer that Anthropic should be held liable for storing torrented books, leading the company to ink a $1.5 billion settlement with authors. Other AI copyright plaintiffs, including both music publishers and record labels, have since viewed this as an opening and added new piracy claims to their lawsuits.

Then there’s the question of outputs, with BMG claiming Anthropic is separately infringing its copyrights in the text that Claude spits out. According to the lawsuit, when requested by user prompts, Claude has provided all or significant portions of the lyrics to multiple BMG-owned compositions, including “Uptown Funk,” Louis Armstrong’s “What a Wonderful World” and 3 Doors Down’s “Kryptonite.”

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“Even when prompted for ‘new’ or ‘original’ song lyrics, Claude generates outputs incorporating unauthorized copies of and/or derivative works based on BMG’s copyrighted lyrics that Anthropic copied into training sets,” reads the lawsuit. “Such unauthorized copies and/or derivative works result from, among other things, Claude combining various songs into a single song as a mash-up in response to user prompts requesting such a combination or new songs.”

BMG is now seeking financial damages from Anthropic, arguing that the company has amassed “a fortune built on stolen copyrighted works.” The lawsuit, which notes that Anthropic recently raised an additional $30 billion at a valuation of $380 billion, seeks the statutory maximum of $150,000 per act of infringement. A non-exhaustive list attached to BMG’s lawsuit includes 467 allegedly infringed songs, meaning the total requested damages would come out to at least $70 million.

Anthropic, like the other AI companies facing a flood of copyright litigation in recent years, has maintained that it is shielded by the principle of “fair use” — a tenet of copyright law that allows unlicensed work to be used in “transformative” fashion. Whether AI training is in fact fair use is an unresolved legal question that’s currently being litigated in dozens of courtrooms across the country.