A new lawsuit claims a composer of the University of Michigan’s iconic “Let’s Go Blue” marching band anthem wrongly got the song removed from Electronic Arts’ successful College Football video game series.
Albert Ahronheim, who co-wrote “Let’s Go Blue” while studying at Michigan in 1975, faces federal copyright and contract interference claims in a Tuesday (March 10) complaint. The case was brought by music publishing companies Theodore Presser and Carl Fischer, which have administered the “Let’s Go Blue” composition rights since 1978.
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According to the lawsuit, Presser and Fischer scored a lucrative synch deal with Electronic Arts (EA) in 2024 to place the song in College Football, which had recently returned from a long hiatus after the NCAA loosened player restrictions on name, image and likeness. The publishers say College Football became “the all-time best-selling sports video game in the U.S,” and Ahronheim was paid royalties for the synch.
However, trouble later arose when Ahronheim began to assert that he actually owned the song’s composition rights, not Presser and Fischer. Ahronheim allegedly demanded that EA either buy a license from him directly or remove “Let’s Go Blue” from College Football. The video game juggernaut chose the latter.
“Ahronheim’s acts as described above, including but not limited to his threat to commence litigation against EA and his false statement of copyright ownership to EA were wrongful and improper, because Ahronheim has and had no legal right to assert any claim of copyright ownership in the composition,” reads the lawsuit. “As a result of Ahronheim’s actions, EA has discontinued the use of the composition in past and future editions of the game.”
The ownership dispute stems from the so-called termination right, a tenet of copyright law that allows artists and songwriters who sell their work to claw back the rights after 35 years. Termination rights have recently become a hot-button issue in music law, with a major appeal ruling questioning their global reach and Salt-N-Pepa invoking them in a messy ownership fight against Universal Music Group.
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Ahronheim sent Presser and Fischer a termination notice back in 2011, asserting that he wanted to take back the “Let’s Go Blue” composition rights when the 35-year window closed in 2013. But the publishers say this notice was invalid and unenforceable because of a technicality: Ahronheim failed to make an official report to the U.S. Copyright Office before the 2013 effective date.
Now, Presser and Fischer are asking a judge to declare that they are, in fact, the sole owners of the “Let’s Go Blue” rights. They’re also seeking financial penalties for Ahronheim’s alleged interference with the EA sync license.
“Plaintiffs have been damaged by Ahronheim’s tortious acts in an amount to be determined at trial, because such acts have injured plaintiffs’ existing economic relationship with EA,” the lawsuit says.
Ahronheim could not immediately be reached for comment on Tuesday. EA did not return a request for comment.
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The sheer number of artist signings announced on a weekly basis makes it difficult to keep up, no matter how closely you pay attention to the industry news cycle. That’s why every other Tuesday, Billboard compiles the latest signings to labels, distributors, agencies, management companies and more, in an effort to provide a snapshot of the latest moves in the artist space, from household names to indie stars to emerging acts.
Rock/metalcore bandBeartooth signed with Fearless Records. Its first release on the label is the single “Free,” released on Feb. 27.
“Fearless Records is proud to have Beartooth on the roster,” said Fearless Records president Andy Serrao in a statement. “We’ve been watching their growth as fans for many years, and now, we are excited to be partners. ‘Free’ is the perfect start to this next chapter.”
Of the single, Beartooth frontman Caleb Shomo said: “‘Free’ is the start of the next chapter of my music and my life. The emotional roller coaster that is living can be very complicated at times. In one day you can equally experience pure fear and pure joy. This song shows a glimpse of what is to come from the next Beartooth album, which is the most honest depiction of my soul I will most likely ever make.”
Beartooth has enjoyed two No. 1 hits on Billboard‘s Top Hard Rock Albums chart: 2018’s Disease and 2023’s The Surface.
Beartooth is currently supporting Bad Omens on the latter’s North American tour. — Chris Eggertsen
See below for the rest of the latest artist signings.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2026-03-10 23:30:352026-03-10 23:30:35Signed: Beartooth Finds a Fearless New Record Label; Skylar Grey Inks With New Management
Tyla bags her second No. 1 on Billboard’s Rhythmic Airplay chart with “Chanel,” which leads the list dated March 14 after two weeks in the runner-up slot. The single’s coronation traces to it being the most-played song on panel-contributing rhythmic radio stations in the United States for the tracking week of Feb. 27-March 5, according to Luminate, a 6% gain compared with the previous week.
With its climb, “Chanel,” on FAX Records/Epic Records, ejects Bruno Mars’ “I Just Might” from the summit. The latter, Hot 100-topping single retreats to No. 2 after three weeks in charge, posting a 7% drop in weekly spins.
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Before “Chanel,” Tyla reigned on Rhythmic Airplay with her breakthrough hit, “Water,” a one-week champ in December 2023. Between those two leaders, she has reached the top 10 twice: “Push 2 Start” peaked at No. 6 in March 2025, while she, Travis Scott and Vybz Cartel joined forces for “PBT,” a No. 5 hit last December.
“Chanel” will possibly appear on Tyla’s second studio album, A-Pop. The singer announced the title at the 2026 Grammy Awards on Feb. 2, the night she won her second best African music performance trophy for “Push 2 Start.” (“Water” won at the 2024 ceremony.)
Elsewhere, “Chanel” continues its progress at other radio formats. It lifts 16-13 on the Mainstream R&B/Hip-Hop Airplay chart (up 7% in plays for the week), and 24-22 on Pop Airplay (up 3%). In addition to those gains on plays-based charts, its status on audience-based rankings improves, too. The track drives 25-19 on R&B/Hip-Hop Airplay (up 11% to 4.7 million audience impressions) and 24-22 on the all-genre Radio Songs chart (up 3% to 22 million).
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Alex Warren was one of several best new artist nominees to take part in a live medley at the Grammys this year — but the experience was sadly diminished after technical issues threw off his performance of Billboard Hot 100 topper “Ordinary.”
In an upcoming interview on Call Her Daddy, the TikToker opened up for the first time in depth about what led up to the mishap. “I’ve never talked about this,” he begins in an exclusive clip shared with Billboard on Tuesday (March 10).
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“It was horrifying,” Warren continues in conversation with host Alex Cooper. “We had rehearsed it all week … it was perfect. To this day I don’t know exactly what happened.”
As far as the musician remembers, “Everything cut out” from his in-ear monitors mere moments before he was supposed to perform in between fellow nominees Leon Thomas and Lola Young. “They’re like, ’30 seconds.’ I said, ‘I can’t hear anything, I can’t hear myself,’” Warren tells Cooper in the clip. “The guy’s like, ‘It’s live TV. Twenty-five seconds.’ I go, ‘Guys, something’s wrong.’”
Ultimately, there was nothing the crew could do to fix the problem before Warren stepped out in front of the crowd at Crypto.com Arena in Los Angeles — and so he had no choice but to accept his fate. “In my head, I look up at the sky, and I go, ‘This is meant to happen,’” he says. “And I just go, ‘Let’s do it.’”
During the Feb. 1 ceremony, KATSEYE, Olivia Dean, Addison Rae, sombr and The Marías were also all involved in the best new artist medley, which preceded Dean taking home the prize. When it was Warren’s turn to sing during the segment, cameras followed him as he began at a popcorn stand in the venue’s concession area before walking out to greet the audience. As he took the stage, he visibly and audibly struggled to find his place in the song over the accompaniment, eventually recovering by removing his earpiece.
Later, Warren addressed the issue by posting a video of himself listening to the distorted, delayed audio track he’d been mistakenly fed through his in-ears on Instagram. “When you’re performing at the Grammys and all you hear is this in your ears,” he wrote at the time. “This would only happen to me.”
Watch the exclusive clip previewing Warren’s upcoming episode of Call Her Daddy above.
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For the first time since 2013, T.I. rules Billboard’s Mainstream R&B/Hip-Hop Airplay chart, as “Let ‘Em Know” jumps from No. 4 to crown the radio ranking dated March 14. The track cements its standing as the most-played song on panel-contributing mainstream R&B/hip-hop radio stations in the United States in the tracking week of Feb. 27-March 5, according to Luminate.
The self-declared King of the South’s latest coronation comes via a 26% surge in plays compared with the prior week’s total. Thanks to its haul, “Let ‘Em Know” grabs the Greatest Gainer award, given weekly to the song with the largest improvement in play count.
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“Let ‘Em Know,” released and promoted through Grand Hustle/EMPIRE, secures T.I.’s eighth Mainstream R&B/Hip-Hop Airplay No. 1. Here’s a review of his collection:
Song Title, Artist (if other than T.I.), Weeks at No. 1, Date Reached No. 1 “U Don’t Know Me,” one, April 30, 2005 “What You Know,” six, April 15, 2006 “Shoulder Lean,” Young Dro feat. T.I.; three, Aug. 5, 2006 “I’m a Flirt,” R. Kelly or Bow Wow feat. T.I. & T-Pain; two, April 14, 2007 “Whatever You Like,” five, Sept. 20, 2008 “Live Your Life,” feat. Rihanna; two, Nov. 22, 2008 “Blurred Lines,” Robin Thicke feat. T.I. & Pharrell; six, April 17, 2013 “Let ‘Em Know,” one (to date), May 14, 2026
Thirteen years after “Blurred Lines,” T.I. and Pharrell again collaborate on No. 1 title. The hitmakers share the co-writing and co-production duties on “Let ‘Em Know” credits; for Pharrell, it gives the creative his first Mainstream R&B/Hip-Hop Airplay since “Happy” topped the list for one week in April 2014.
“We both have an unwavering passion for the craft,” T.I. said of his working relationship with Pharrell in a recent Billboard interview. “He has an enormous amount of success and things he can be doing, but music calls him. It urges him to create in so many different genres just out of sheer, genuine passion.”
“Let ‘Em Know” is expected on Kill the King, which T.I. says will be his final album. The set will be his first since 2020’s The L.I.B.R.A.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2026-03-10 23:00:512026-03-10 23:00:51T.I. Tops Mainstream R&B/Hip-Hop Airplay Chart for First Time Since 2013’s ‘Blurred Lines’
After more than 35 years of making records, Black Crowes brothers Chris and Rich Robinson have honed the way they approach what’s next.
“I’m always looking at the angle of, ‘Look, we’ve made a lot of records. We’ve been doing this a long time. What can we do with this one?’” Chris explains via Zoom from his home near Los Angeles. And from his home in upstate New York, Rich adds, “It comes down to loving what you’re doing, and there’s joy in creation that we always get involved with and tap into…It forces you to be instinctual instead of thinking about it.
“It takes it directly from the heart instead of the brain, y’know?”
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That philosophy was amply applied during the making of A Pound of Feathers, the Black Crowes’ 10th studio album, out Friday, and the follow-up to 2024’s Grammy Award-nominated Happiness Bastards. That was the Crowes’ first new release in 14 years, and the first since the Robinsons reactivated the band in 2019 after a mostly acrimonious five-year hiatus.
The 11-song set was recorded during less than two weeks in Nashville with Happiness Bastards producer Jay Joyce, and with only Cully Symington, the band’s drummer since 2023, joining the Robinsons in the studio. And while its predecessor was created in a more conventional process, with songs prepared before the full band entered the studio, A Pound of Feathers was decidedly more extemporaneous.
“I think on Happiness Bastards we definitely colored in the lines, and this one it’s more like…whatever,” explains Chris, who also played drums during the writing process. “I told Rich, and he agreed…I was like, ‘Let’s much around with some stuff, but I’m not gonna write any lyrics or any real melodies. We’re gonna have the roughest of the rough sort of sketches.’ And we told Jay this as well; ‘We’re coming in with a lot of loose ends.’ It was really rough and raw, but I think we can keep some of that, the idea of it, keep it loose and funky.”
Rich, who played bass as well as his usual guitars, says that this time “we knew we wanted to use the studio as a tool. When Chris and I get on a thing we go pretty fast. Ideas come. It’s like, ‘OK, I have this. I think this is the verse, this is the chorus’ and Chris will say, ‘No, this is the verse’ and we’ll go through it and I’m normally right. (laughs) We would take stock at the end of each day and it’d be like, ‘Wow, that’s kind of done. We really like it. And by the end of the first week we had nine songs finished, done, to the point where all of us, even Jay, were like, ‘Don’t f–k around with these songs. We really like where it is.
“So we just said, ‘F— it, let’s just keep going,’ and four days later we’re finished with the whole record.”
A Pound of Feathers is another quintessential kind of Black Crowes record, weaving classic sources into the Robinsons’ particular stew of gritty, compact attacks, beefy guitar riffs, cocksure attitude, stomping rhythms and tribal energy. Chris declares in the opening line of “Profane Prophecy” that “my pedigree in debaucher is my claim to fame” while Rich digs into chords straight out of the defining Rolling Stones songbook. The octane stays high on tracks such as “Cruel Streak,” “Do the Parasite!,” “High and Lonesome” and “You Call This a Good Time,” while the Crowes dig into Americana restraint with “Pharmacy Chronicles” and “Queen of the B-Sides.”
Alongside those, the cascading “Blood Red Regrets,” the tempo-shifting “Eros Blues” and the darkly psychedelic “Doomsday Doggerel” burst out of the speakers or earbuds with epic sonic dynamics.
“The Black Crowes, to a fault, have always done thing by how they feel,” Chris maintains. “I’m a cerebral person, but the music is really caveman stuff. We’ve done a lot of spontaneous writing, and I work that way, but something like ‘Doomsday Doggerel,’ that’s a great example of one minute there wasn’t a song, and 30 minutes later there’s one of my favorite songs that we’ve ever written.”
On “It’s Like That,” meanwhile, Chris was working on lyrics in his rented house, “and there’s a tree frog out in front of the bedroom, and it’s making this noise, so I taped it on my phone and we get back the next day and I go, ‘Put up the solo section…and throw my frog in there,’ and it goes through the little guitar solo break. That’s my Nashville rasta frog.” Rich also credits his brother with the idea for adding violin to “Queen of the B-Sides.”
“There’s moments like that all over the record that I really appreciate,” Rich says. “I think a lot of that kinda jumps into this immediacy the record has, where you’re right there. You’re in it, and that’s it. That’s what I really love about it.”
The Black Crowes — recently nominated for the Rock & Roll Hall of Fame for a second consecutive year — begin touring during April with shows in Australia and Tokyo before kicking off a North American run with Whiskey Myers and Southall on May 17 in Austin, Texas, bisected with a late June run to Europe. The Robinsons will be joined by Symington, keyboardist Erik Deutsch and guitarist Nico Bereciartua from the Happiness Bastards run, while Mark “Muddy” Dutton from the band Burning Tree replaces longtime bassist Sven Pipien for this outing.
Rich anticipates that “we’ll go through all of [the A Pound of Feathers songs], but not all in one night,” while he and Chris say they’ll blend some seldom-played rarities amidst the other favorites, and perhaps some covers. “We have a deepish well to draw from,” Rich notes. “The cool thing is how these new songs fit with the old songs; when we went out for Happiness Bastards I was like, ‘Oh, how’s this gonna work?,’ but when you get in a room and you set ’em right next to each other they make total sense. So it’s gonna be really cool.
“I’m always surprised. You can feel [fans’] enthusiasm, sort of along the same trip as what Chris and I do, from our living room to yours, whatever that vibration is people are resonating with, too. To go out after all that time broken up and to have people come out and support us again, that’s a gift. It’s just really cool to look out and see someone that I remember seeing when I was a kid, and they’re bringing their kids to the shows. There really is a sense of togetherness that we’ve all been on this trip together…and are still here.”
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2026-03-10 22:50:342026-03-10 22:50:34The Black Crowes Share Their Current Approach to Making Music With New ‘A Pound of Feathers’ Album: ‘F— It, Let’s Just Keep Going’
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Jill Scott reclaims Billboard’s Adult R&B Airplay chart crown after a nearly 13-year gap as “Pressha” tops the list dated March 14. The single, released on Blues Bebe/Human Re Sources, advances from No. 2 and was the most-played song on panel-contributing adult R&B radio stations in the tracking week of Feb. 27-March 5, according to Luminate.
“Pressha” ascends after a 6% improvement in plays for the tracking week compared with the previous period (Feb. 20-26). With its promotion, the new champ ousts Kehlani’s “Folded” after its two-week reign.
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As Scott achieves another No. 1, the veteran adds a fifth leader to her Adult R&B Airplay ledger. It joins these four:
“A Long Walk,” seven weeks at No. 1 in March-April 2001
“Whatever,” one week, February 2005
“So in Love,” feat. Anthony Hamilton; 18 weeks, July-October 2012
“Blessed,” one week, June 2012
“So In Love,” notably, holds the record as the song with the most weeks at No. 1 in the history of the Adult R&B Airplay chart, which launched in September 1993.
With “Blessed” to “Pressha,” Scott closes a gap of 13 years, 8 months and two weeks between No. 1s. The last artist to wait as long to lead again was Mariah Carey, whose “Type Dangerous” ruled in August 2025, nearly 19 years since “Fly Like a Bird” wrapped its six-week stay on top in September 2006.
“Pressha” introduced Scott’s newest album, To Whom This May Concern, her first full-length project since 2015’s Woman. The set, released on Feb. 13, opened at No. 10 on the Top R&B/Hip-Hop Albums chart to give the singer-songwriter her ninth project to reach the top 10.
Scott’s return proved to be highly anticipated at her best radio format. “Pressha” skips to the No. 1 spot in just its eighth week on the chart, the fastest among the singer’s five champs. “So In Love” held her previous personal best, needing 10 frames to complete its trip. Among all songs, “Pressha” holds the shortest mark since Rihanna’s “Lift Me Up” also took eight weeks to the summit.
Elsewhere, “Pressha” holds at No. 11 on the R&B/Hip-Hop Airplay chart, which ranks songs by combined audience totals on adult R&B and mainstream R&B/hip-hop radio stations. There, it improved to 7.3 million audience impressions for the week, up 6%.
Though she might love watching it, Kelly Clarkson will probably never be on TheTraitors.
The Traitors season 4 winner Rob Rausch joined host Clarkson and fellow guest Daniel Radcliffe on Tuesday’s (March 10) episode of The Kelly Clarkson Show, and after watching a scene from the reality competition’s finale, Clarkson congratulated Rausch on a job well done before admitting that the moment where Rausch betrays runner-up Maura Higgins made her feel uneasy.
“The amount of uncomfortable the scene that we just showed made me,” Clarkson says. “I could never do this show.”
Radcliffe chimed in and agreed that he doesn’t think he would be successful on The Traitors either, but they both commend Rausch on a job well-done. Clarkson also made sure to check on the winner’s conscience. “Do you feel like a piece of sh– though?” Clarkson asked Rausch, who was a Traitor from the first episode of season 4. Over the course of the season, Rausch fooled Higgins and the other Faithfuls and ultimately took home the grand prize of nearly $221,000.
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Rausch admitted that it’s difficult to play the role of a Traitor but that it’s important to separate emotions from gameplay. “And I did feel like a piece of sh–,” he said.
Clarkson continued by telling Rausch that he’s a “really good actor” and asked if he’s ever considered pursuing a career in the field. Though Rausch has had previous TV experience as a contestant on Love Island USA, the reality TV star had not thought about going into acting. Now that he’s had a taste of what it’s like to play a role on The Traitors, he’s open to the idea.
“Before Traitors, I would’ve said, ‘Hell no, I’m not doing that,’” Rausch said. “But I think I could do it.”
Rausch’s acting skills in the show truly shone through when he successfully convinced fellow contestant and K-pop star Eric Nam to switch sides from being a Faithful to a Traitor. Once Nam was where Rausch wanted him, he was able to banish the singer/songwriter from the game, leaving the win up in the air between Rausch and fellow Love Island alum Higgins.
Nam was able to eventually get his revenge on Rausch. On March 3, the singer dropped the video for his single “How the Fire Started,” in part inspired by Rausch’s betrayal on The Traitors. For the music video, Nam recruited his fellow betrayed Faithfuls to play vengeful characters on the hunt for none other than Rausch himself. In a recent episode of Billboard‘s video series Takes Us Out, Nam shared that while he was scared to ask the other contestants to join in on the video, they were all happy to do so and they had a great time.
“I think it was a way to just kind of wrap up the entire experience in a way that was fun and cheeky and still pulled the music in,” Nam says.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2026-03-10 21:31:112026-03-10 21:31:11Kelly Clarkson Marvels at How Good Rob Rausch Was at Lying on ‘The Traitors’: ‘I Could Never Do This Show’
Carín León and Xavi’s “La Morrita” captures the crown on Billboard’s Latin Airplay chart as the song jumps 3-1 on the March 14-dated chart. The achievement arrives two weeks after the song landed at No. 1 on the Regional Mexican Airplay chart (Feb. 28).
“Very excited and proud to see that this huapango is reaching the top of the charts,” León tells Billboard. “This proves that regional Mexican music is more alive than ever, and what better way to do it than with my buddy, Xavi, one of the young talents who is representing our music with great strength.”
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“La Morrita,” released Jan. 9 on Island/Socios Music, rises from No. 3 after a 22% week-over-week increase in audience impressions; that’s 8.6 million impressions earned across the 152 panel-contributing Latin radio stations in the United States for the tracking week of Feb. 27-March 5, according to Luminate. The song sends Romeo Santos and Prince Royce’s “Lokita Por Mí” to No. 2, after the latter three non-consecutive week run at No. 1.
With thew new champ, Xavi adds a fourth Latin Airplay No. 1 to his career chart account. He previously ruled through “No Capea,” with Grupo Frontera, for one week in February.
León, meanwhile, earns his sixth No. 1, after the singer-songwriter landed at the summit through pop and regional Mexican versions of Maná’s “Vivir Sin Aire” last September.
Beyond its Latin Airplay coronation, “La Morrita” adds a second week at No. 1 on Regional Mexican Airplay, becoming the third song to rule for two weeks -out of the eight champs on the ranking- in 2026 so far. Previously, La Arrolladora Banda El Limón and Juanes’ “Una Noche Contigo,” and Grupo Frontera’s “Monterrey” each pulled two-week dominations between Jan.-Feb.
Elsewhere, “La Morrita” also extends its No. 15 peak on the Hot Regional Mexican Songs thanks to its radio haul. The chart combines streaming data, radio airplay, and digital sales into its formula.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2026-03-10 21:20:422026-03-10 21:20:42Carín León & Xavi’s ‘La Morrita’ Tops 2nd Billboard Chart: ‘What Better Way to Do It Than With My Buddy Xavi’
