Dove Cameron‘s flirty “Boyfriend” has taken TikTok by storm even before its release, captivating fans with the mischievous, sultry lyrics.

Before she released “Boyfriend,” Cameron — who opened up about her bisexuality last year — teased what she described  as a “queer perspective song” that felt “powerful and right” multiple times on her TikTok page.

If you need a guide to follow along with Dove Cameron’s “Boyfriend,” find the lyrics below:

I can’t believe we’re finally alone
I can’t believe I almost went home
What are the chances everyone’s dancing
And he’s not with you? (hm, hm, hm, hm)

The universe must have divined this
What am I gonna do
Not grab your wrist?

I could be a better boyfriend than him
I could do the shit that he never did
Up all night, I won’t quit
Thinkin’ I’m gonna steal you from him
I could be such a gentleman
Plus all my clothes would fit

I could be a better boyfriend

I don’t need to tell you twice
All the ways he can’t suffice
If I could give you some advice
I would leave with me tonight

The universe must have divined this
Mm-mm-mm
Ladies first, baby, I insist

I could be a better boyfriend than him
I could do the shit that he never did
Up all night, I won’t quit
Thinkin’ I’m gonna steal you from him
I could be such a gentleman
Plus all my clothes would fit

I could be a better boyfriend than him
I could be a better boyfriend

I never would’ve left you alone
Here on your own
Glued to your phone
Never would’ve left you alone
For someone else to take you home

I could be a better boyfriend than him
I could do the shit that he never did
Up all night, I won’t quit
I’m gonna steal you from him
I could be such a gentleman
Plus you know my clothes would fit
I could be a better boyfriend than him
I could do the shit that he never did
Up all night, I won’t quit
Thinkin’ I’m gonna steal you from him
I could be such a gentleman
Plus all my clothes would fit

Lyrics licensed & provided by LyricFind

Lyrics © Universal Music Publishing Group, Sony/ATV Music Publishing LLC, Warner Chappell Music, Inc.

Written by: Brittany Marie Amaradio, Dove Cameron, Evan Blair, Skyler Stonestreet

Music stocks that had been pummeled in recent months received a respite on Wednesday (March 16) after the Federal Reserve moved to combat inflation and soaring economy by raising the federal funds rate from 0.25% to 0.50%. The federal fund rate is the benchmark rate for inter-bank loans and borrowing costs for credit cards, mortgages and auto loans. Shares of Universal Music Group rose 5.0% on the day to 21.96 euros while Spotify improved 7.9% to $133.58 and Warner Music Group climbed 1.4% to $35.47.

The Fed’s move had been expected since its first announced its intention to do so on Dec. 15, 2021. By raising the federal funds rate, the Fed will make borrowing money more costly, reducing businesses and consumer spending to rein in inflation. The Fed stated on Wednesday it “anticipates that ongoing increases in the target rate will be appropriate.”

The markets dropped sharply in anticipation of the Fed’s move: from Dec. 15 to Wednesday, the Nasdaq composite fell 13.7% and the New York Stock Exchange composite dropped 3.3%. Some music companies’ stock prices fared even worse. Over that time span, Universal Music Group’s share price dropped 8.5% while Warner Music Group is down 15.5% — after each rallied more than 20% in the last week. French label-distributor Believe is down 23.1% since the Fed’s mid-December announcement.

“Investors are selling expensive growth,” says Barclays analyst Julien Roch.  For years, as interest rates and inflation were low, investors poured into companies with above-average growth rates.  A good example is the Nasdaq 100 Technology Sector Index, which is up 92% in the last two years but has fallen 15% since Dec. 15. Now, value stocks are more fashionable and earnings — the sooner the better — are all the rage.

The music business has been an attractive growth story since Spotify went public in 2018. The allure of rapidly rising revenues and expanding margins attracted investors to Warner Music Group in 2020 and Universal Music Group in 2021. Spotify had a peak market capitalization of $74.3 million in Feb. 2021 when Wall Street was enthusiastic about its plan to invest in podcasts to help compensate for the thin margins of music licensing.

Now, Spotify trades at $133.58, after falling to $118.20 on Monday — its lowest since April 2020 when the markets plummeted at the pandemic’s onset. Other streaming stocks have suffered lately, too. Netflix shares are down 29.7% since the company announced disappointing forecast for first-quarter subscriber growth on Jan. 20 and 40.2% down since the Fed’s Dec. 15 announcement. Roku shares are down 31.3% since Netflix’s announcement and 48.1% since Dec. 15.

“Right now, the markets are not kind to promises of long-term synergies from M&A or unclear returns from catalog investments,” says Bernstein analyst Matti Littunen. “If a deal doesn’t increase cash flows next year in a way that’s easy to understand, it’s viewed with suspicion.”

That’s a challenge in the music industry because some — not all — growth comes from acquisitions of recording and publishing catalogs. But understanding the benefits of these catalog deals is difficult for people on the outside of the transactions. Record labels and publishers tend to provide financial details only on acquisitions of smaller labels and publishers, not more common purchases of individual catalogs. For expensive deals for rights to Bruce Springsteen or David Bowie catalogs, for example, Billboard often estimates what companies omit by calculating annual royalties and backing into a multiple of revenue based on the known or reported acquisition price.

As catalog deals become more expensive, returns might not come immediately. “The labels have said they are uniquely positioned to improve the returns” through licensing and other exploitation, says Littunen, “but that might take some time to do.”

In the meantime, a higher interest rate climate could affect the value placed on royalty streams, says Craig-Hallum Capital Group analyst Alex Fuhrman. “Some investors might look at music catalogs and apply a higher discount rate to what they can generate in the future.” In other words, a higher discount rate will reduce the present value of future income streams. So, even if investors don’t change their expectations for future royalty payments, they would place a lower value on those royalties and adjust their value of the company’s share price accordingly.

For all the recent drama, the Fed’s move was a bit anticlimactic after three months of anticipation and broad sell-offs. In fact, investors seemed encouraged by the Fed’s approach and chairman Jerome Powell’s assurance the U.S. will return to 2% inflation. “The plan is to restore price stability while also sustaining a strong labor market,” Powell said on Wednesday. “That is our intention, and we believe we can do that. But we have to restore price stability.”

The Nasdaq composite grew 3.8% on Wednesday, its best day since Nov. 2020, while the NYSE rose 2.3%. For the most beleaguered stocks, Wednesday’s rate hike could be the start of a promising new phase.

So you screwed up. It happens to the best of us, even Justin Bieber, Adele and John Lennon, all who have come out with stellar tunes about saying “sorry.” No matter what bad blood you’re dealing with, here are 22 of the best apology songs out there to help make amends, along with a few for when you’re — as Demi Lovato would say — “Sorry Not Sorry.”

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South by Southwest takes over Austin, Texas, every year, intertwining film, music and interactive media — but how did it become one of the arts’ biggest festivals?

The inaugural SXSW took place in 1987 as an extension of an already-existing New York City festival. When those plans fell through, Ronald Swenson of the Austin Chronicle — who is now the CEO of SXSW — decided to co-organize it as a local music festival.

SXSW has 15 tracks of programming in various formats, including summits, keynotes, panels, workshops, podcasts and more. “It would be like if every creative person in the world went on spring break together in Austin, Texas,” Brian Hobbs, SXSW programming manager, tells Billboard‘s Tetris Kelly.

With inspiring speakers, major film screenings and headline-making performances, SXSW has stood the test of time, bringing all-stars from every creative genre together.

For the 2022 edition, which will take place from March 11 to 20, Billboard is teaming up with Samsung Galaxy to bring the Samsung + Billboard Present The Stage at SXSW event. The show will take place March 17-19 and will feature three consecutive evenings of headliners at the Moody Amphitheater at Waterloo Park. Among the performers are Gunna, Young Thug, Kygo, Frank Walker, Forester, Shawn Mendes and Sebastian Yatra.

Watch the latest episode of Billboard Explains above to learn more about everything SXSW.

After the video, catch up on more Billboard Explains videos and learn about the magic of boy bands, American Music Awards, the Billboard Latin Music Awards, the Hot 100 chart, how R&B/hip-hop became the biggest genre in the U.S., how festivals book their lineups, Billie Eilish’s formula for success, the history of rap battles, nonbinary awareness in music, the Billboard Music Awards, the Free Britney movement, rise of K-pop in the U.S., why Taylor Swift is re-recording her first six albums, the boom of hit all-female collaborations, how Grammy nominees and winners are chosen, why songwriters are selling their publishing catalogs, how the Super Bowl halftime show is booked and why Olivia Rodrigo’s “Drivers License” was able to shoot to No. 1 on the Hot 100.

PMC is the largest shareholder of SXSW and its brands are official media partners of SXSW.

Rapper and actor Killer Mike has sold his entire song catalog to Reservoir Media and signed a go-forward publishing deal with the company. The agreement gives the independent publisher considerable say over the discography of Run the Jewels, the rap duo comprised of Killer Mike and EL-P, who have released such hit tracks as “Legend Has It,” “Close Your Eyes” and “Blockbuster Night, Pt. 1.”

Born and raised in Atlanta, Killer Mike has dropped four landmark albums with Run the Jewels over the course of his career, as well as six solo projects dating back to his 2003 debut record Monster, released via Columbia Records. He’s also renowned for his collaborations with other hip-hop heavyweights including Jay-Z, Outkast, T.I. and Big Boi.

As an actor, Killer Mike has had roles in films such as Baby Driver, Idlewild and ATL. He is also the host of the Netflix series Trigger Warning With Killer Mike, Facebook’s Roll’N With Killer Mike and PBS’ Love & Respect With Killer Mike. His powerful speech following the death of George Floyd, a Black man who was murdered by Minneapolis police officers in 2020, helped cement his position as a leader in the fight for civil rights, both in his local community and around the world. Later that year, he was honored with Billboard’s inaugural Change Maker Award.

In a statement about the new deal, Killer Mike said, “A great publisher is a major key to success, and I’m excited to embark on this phase of my career with the dynamic team at Reservoir.”

Faith Newman, executive vp of A&R and catalog development at Reservoir, added, “Killer Mike has been a fixture of hip-hop for decades now, and both his past successes and upcoming music continue to push boundaries and address deeply meaningful topics. Artists and visionaries of his caliber do not come around often, and we are grateful to be the publishing home for such a trailblazing creator.”