Released on Sept. 18, 2015, Mac Miller‘s third album and major-label debut GO:OD AM turns 10 today, and his estate has released a short film to celebrate its anniversary.

GO:OD AM (Time Flies, Try to Catch It) is a 15-minute documentary about the making of the album and the headspace he was in. The film opens up with a quote from the Pittsburgh rapper where he explains what he wanted to accomplish with this particular project. “I think for me, I wanted the album to feel like a breath of fresh air,” he says. “A lot of the music I’ve done recently was a little darker and sad. I wanted this album to kinda be a departure from that and feel confident and positive.”

The film’s synopsis (via press release) reads as follows: “Directed by Sam Balaban, who directed Mac’s “Inertia” freestyle and later the Making Faces short film, the piece looks back at the album that marked Mac’s first release for a major label and foreshadowed the dramatic artistic evolution that would take place over the course of his subsequent albums. The film examines the significance of that album through archival footage and contributions from Mac’s longtime engineer Josh Berg, manager Christian Clancy, visual collaborator Ian Wolfson (better known to Mac fans as Rex Arrow), and close friend (and hypeman) Quentin Cuff, among others.”

Mac Miller died on Sept. 7, 2018. He was 26 years old.

You can watch GO:OD AM (Time Flies, Try to Catch It) – A Short Film below.

King Combs reflects on “one of the darkest times in my life” in his new “Lonely Roads” music video that dropped on Thursday (Sept. 18).

The track — produced by Ye (formerly known as Kanye West) and featuring his 12-year-old daughter North West as well as JAAS – is featured on Combs’ Never Stop EP that dropped in June, and he described “Lonely Roads” on Instagram as “one of my favorite songs” from the project.

In the Adam Gharib-directed visual, Combs drives down a deserted road in a Tesla Cybertruck before arriving to the house of his father, disgraced rapper/mogul Diddy. There, he hangs with his brothers Quincy and Justin as well as his sisters Jessie, D’Lila and Love. In March 2024, King Combs and Justin were detained (yet not arrested) at this very house during a Homeland Security raid in connection with a federal sex trafficking investigation regarding their father. Diddy was arrested last September in New York City after a grand jury indictment and charged with federal sex trafficking and racketeering. His trial began in May and lasted seven weeks; on July 2, he was convicted on two counts of illegal prostitution but defeated the more serious sex-trafficking and racketeering charges. Diddy remains in jail, where he awaits sentencing in October.

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King Combs celebrated the verdict outside of the courthouse and told ABC 7, “We love y’all. We love everybody watching. I’m so happy. Pops coming home. God bless the whole world,” while playing the “Diddy Free” track from Never Stop. While talking to Billboard last month, King Combs said, “I think now that the truth is getting out and pops is on the way home, God willing. I think we just need to stay with positivity, spread love. I just hope all the hate and all the negative stuff is past us and we can just move forward and with just love and good vibes. That’s what we’re here to do: never stop.”

He doubled down on his message in “Lonely Roads”: “Roll somethin’ up, take a puff for the name’s sake/ Put the whole world against me, I’ma keep the same face/ I wanted all the real love, the fake hate, the headlines gon’ still say ‘Vacate the throne’/ Young n—a, I’m home, dead wrong like B.I./ Still the king like T.I., still bop like D-I-D-D-Y,” Combs raps on the first verse.

King Combs ended the accompanying video on an even more personal note. “Even when the road felt lonely… y’all never left my side. To every fan, supporter, and person who believed in me — thank you. I love y’all more than words can say. This last year and a half was one of the darkest times in my life… but every stream, repost, every time someone stopped me just to say, ‘keep going’ — it all meant more than you know,” it read. “Y’all reminded me I wasn’t walking this road alone. Y’all gave me strength. Y’all helped me never stop. From the bottom of my heart, thank you. Love, Christian.”

Watch the “Lonely Roads” music video below.

Memphis Bleek has a pretty good working theory as to why his mentor Jay-Z hasn’t really released music, aside from a handful of features, since his last solo album, 2017’s 4:44, and his The Carters joint album with wife Beyoncé.

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Bleek sat down with Shannon Sharpe’s Club Shay Shay and talked about why he thinks Jay isn’t as consistent with making music as he used to be, after the NFL Hall of Famer mentioned that the legendary rapper is more known these days for his business acumen.

“Jay always been the businessman,” Bleek said. “If you go back to his first album, second album; around that time, he always was talking about retiring after his first album. Then he was like, ‘I’mma retire after the second album.’ He never wanted to do this and be this glamorous superstar; he wanted to be the biggest businessman. So that’s why, if you see, music is the backbone, but his business is his personality. You know what I mean? That’s who he is: the businessman. And that’s what overshadows the music.”

He added: “Jay needs to be challenged to do music. Not saying that somebody need to diss him or competition. He just feels like there’s no one on his level. When Eminem was making music, Pun was making music, Biggie, 2Pac, those guys, he had competition to be like, ‘Oh, I got to be number one.’ It’s no competition for Jay now, unless he wants to battle me.”

Sharpe also brought up seeing some fans on social media wondering why Jay doesn’t help Damon Dash with his current financial situation, and before he could finish, Bleek immediately cut him off, saying Jay isn’t that type of person. “That’s not Jay,” he said. “I’m just letting you know that right now. I’m his friend, he ain’t giving nothing away to the loved ones. You have to earn it, you gotta work, and then the person who was chopping at his tree for so long, I just don’t see it happening.”

In other Hov business news, his much-publicized Times Square casino bid was denied in a 4-2 vote by the Community Advisory Committee.

You can watch the full conversation below.

Some Taylor Swift fans are so committed, they want to listen to her music 24 hours a day, seven days a week. And now, with a new SiriusXM channel, they can do exactly that.

As announced Thursday (Sept. 18), the broadcaster is launching a program that will be 100% dedicated to the pop star, exclusively playing selections from her catalog. It will run nonstop — as in 24/7 — for nearly a month straight starting Saturday (Sept. 20), “showcasing every era of her music,” according to a release.

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“Taylor Swift continues to not only dominate the music world, but also every aspect of pop culture,” the company’s president and chief content officer, Scott Greenstein, said in a statement. “Her chart-topping, award-winning songs resonate with every generation of listeners, and we are thrilled to deliver our subscribers a place to celebrate their fandom and the new album with the launch of Taylor’s Channel 13.”

The themed channel’s start date will mark 13 days until the arrival of The Life of a Showgirl, Swift’s highly anticipated 12th album. Once the LP is released, the Swiftie station will play the 12-track full-length in its entirety every other hour.

Taylor’s Channel 13 will also feature the voices of fans sharing their personal thoughts and memories on Swift. The channel’s limited run will end on Oct. 19.

“SiriusXM has proudly supported Taylor from the very beginning of her career and championed her artistry every step of the way,” Greenstein continued in his statement. “The channel is a unique destination for fans to connect in a way like never before, hear her music across all eras of her legendary career and celebrate The Life of a Showgirl in a uniquely SiriusXM way.”

Swifties across North America interested in experiencing the nonstop listening party can tune into channel 13 in their cars, or they can subscribe on the SiriusXM app.

An AI-powered artist is climbing the charts and just signed a multi-million dollar record deal. But what exactly is a label buying when they sign an AI-powered artist? 

As first reported by Billboard, record labels took meetings last week with Xania Monet, a little-known R&B act who’s racked up millions of streams. One small wrinkle: Monet is actually an AI-powered creation of a Mississippi woman named Telisha Jones, who writes her own lyrics but uses the AI platform Suno to make them into music. 

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The deal inked by Jones — a multimillion-dollar agreement signed by ex-Interscope exec Neil Jacobson’s indie music company Hallwood Media — marks the latest advance of AI into every corner of American life. But the buzz surrounding the deal, which some of the major labels ultimately backed away from, highlights the legal limbo that music companies and creators face as they adopt the new tech. 

Creators like Jones can secure intellectual property protection on the lyrics and music they write themselves, but that protection depends on the extent to which AI is used in the process — and to what extent they disclose that.  

Earlier this year, the U.S. Copyright Office issued a major report that said using AI as an “assistive tool” for human expression would be fair game, but that copyrights would not be granted where “expressive elements are determined by a machine.” But where does that dividing line sit for any particular song? The report said it needs to be decided on a “case-by-case” basis. 

If a work isn’t copyrighted, there’s no recourse for anyone to be able to protect it in the marketplace, including through takedown requests against others who upload versions to streaming services and attempt to monetize them. There is also a question as to who would be able to collect any royalties from the digital exploitation of such a song, if the question of ownership is unsettled. 

Sources tell Billboard that Xania Monet is confident she owns the rights to both her master recordings and musical compositions, given the amount of human input used to create her music as well as the lyrics. Hallwood Media did not return a request for comment. 

Legal experts say such AI-assisted music raises tricky questions. The lyrics penned by Jones are obviously hers, but her manager says she used a combination of Suno’s model and other live elements to create the music. But that raises a key question: How much human contribution does it take to establish copyrights on an entire song?  

“This strikes me as the central question, and one without a clear answer,” says Kristelia García, a legal scholar at Georgetown University Law Center who testified before Congress last year on this exact issue.

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Suno’s involvement is less complex. Under its terms of service, subscribers of Suno’s premium tiers are given control given full control of songs they create. Such users “own the songs” and “retain the rights to commercial use,” Suno says, “even if you end your subscription.” And in meetings with prospective labels this month, Monet told executives that she owned her recordings as a Suno subscriber, sources say, and she’s been shopping for a publishing partner separately.  

A rep for Suno did not immediately return a request for comment on Monet’s deal. 

Complicating matters further is the unresolved legality of platforms like Suno themselves. Don’t forget: Some labels backed away from offering Monet a deal partly because they’re currently suing Suno — a case that’s part of a trillion-dollar legal battle over whether it’s legal to use vast troves of copyrighted works to create AI platforms. 

In the case against Suno, the labels claimed the company had illegally used existing songs on an “unimaginable scale,” in the process “trampling the rights of copyright owners.” Suno has fired back that it merely analyzes public data to “enable people to make their own new creations” — something it says is clearly protected as a “fair use” of copyrighted works. 

Until those cases are definitively resolved — a process that could take years — they’ll pose another level of uncertainty for any company that might otherwise strike deals for AI music. Why ink a deal with an artist whose music is reliant on a service you’re actively suing, and one that might later turn out to be illegal? 

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Given all that uncertainty, experts say record deals with AI artists might be better understood as an attempt to win publicity in an AI-dominated news cycle, or an effort to secure first-mover advantage in a booming market — perhaps a small price to pay for a future AI-powered superstar.  

“Labels are surely paying for earned media and buzz around such AI ‘artists,’” says Nathaniel Bach, a litigator at the law firm Manatt who’s written extensively about AI law. “Whether fans develop long-term connections with such avatars — or if they are more of a novelty act — remains to be seen.” 

The members of Chilli Beans. spoke with Billboard Japan for the latest installment of its Women in Music interview series. The initiative launched in 2022 to celebrate artists, producers and executives who have made significant contributions to music and entertainment and inspired other women through their work, following the footsteps of Billboard’s annual Women in Music honors. This series featuring female players in the Japanese entertainment industry is one of the highlights of Japan’s WIM project.

Chilli Beans. is set to take the stage at Billboard Japan’s Women In Music vol. 3 music event at Billboard Live Yokohama in October. The three-woman band was formed in 2019 and successfully played at the Nippon Budokan in 2024. The three members — Moto, Maika, and Lily, who each had been active as singer-songwriters before coming together as a group — spoke to writer Rio Hirai about the chemistry born from their collaboration and gender discrepancies within Japan’s music industry.

Are there things about you that have changed since your debut in 2019, and things that have remained the same?

Maika: After releasing our fifth EP “the outside wind” in June, I noticed that the things I want to say and the stuff I sing about haven’t changed much since our debut. But while I haven’t changed, I think I’ve grown. It’s like my character has matured, but the core of what I think about and the fundamental parts haven’t changed.

Moto: I still tend to dwell on things get caught up in my own thoughts, but it’s more like a gradual progress toward greater freedom than a painful process.

Do you think it’s because you work as a trio that you’re able to progress towards greater freedom like you say?

Moto: Whenever we perform live, it really feels like we all have our ways of getting into the groove and feeling the vibe. When the three of us come together, even our darker sides become part of our music, and we can say to each other in everyday conversation, “It’s not a bad thing, it’s actually cool.” When that negativity is turned into music, it becomes something like our flavor. That’s when I feel like I’m being accepted.

So you share emotional ups and downs among the members.

Moto: Not in a conscious way, though. We probably just naturally say things like, “I’m feeling like this today.” There’s also that sense of just kind of knowing.

Maika: Maybe we pick up on each other’s moods, like, “She seems down today” or “Did something good happen today?” The two of them offer perspectives and insights that allow me to see my current feelings and situation from angles I couldn’t see on my own. So if I were alone, I might feel dejected about some mistake I made, but if the other two tell me, “That’s so human and cute,” then I can be like, “Oh, I never thought about it that way.” That only happens because there are three of us.

And the accumulation of that has led to growth?

Maika: I think so. The reason why we’ve been able to grow without changing fundamentally is because the way we interpret things has become much broader.

What’s the meaning behind the band name “Chilli Beans.”?

Lily: When the three of us first decided to form a band, we talked about wanting to be a band where everyone could take the spotlight. That’s how we came up with the name. We used to cover songs by Red Hot Chili Peppers, so “Chilli” comes from them, and we added “Beans” to mean “We’re still fledglings and have a lot of room to grow.”

Maika: Naming the band really made us feel like a team, you know?

Bands formed exclusively by women are often categorized as a “girl band” in Japan. What are your thoughts on that?

Maika: We generally state that we’re a “three-piece band” when introducing ourselves. But since we’re all women, we often get categorized as a “girl band,” which makes us think about it quite a bit.

Moto: Personally, I don’t mind either way. We’re just making music as human beings. We want people to take our melodies, the feelings of the moment, the vibes, and connect with them. That’s how we feel like we’re interacting with the people listening to us. So, how people see us is entirely up to them.

Do you ever come up against any gender discrepancies or rigid values when you’re working?

Maika: I think stereotypes and biases are inevitable. I’ve encountered situations where guys say things like, “I’m just not into girl bands,” and we don’t even get a chance to be heard. I love debating, so I’ll ask them, “What do you think about girl bands?” and they’ll have preconceptions like, “I don’t like that bubbly, girly vibe,” or “Their voices are too high-pitched.” I personally believe that it doesn’t matter whether you’re a woman or a man when it comes to music, so I really want people to get to know us.

What do the three of you value most when overcoming great difficulties?

Moto: What you need when you’re facing difficulties isn’t technique or musicality. It’s about getting your true feelings across and also wanting to understand how the other person really feels. When you talk to people face-to-face, you begin to see who they really are, and when honest people connect, you can overcome things together.

Lily: Even when you’re experiencing the same thing, people can feel completely different about it, so I’ve learned that it’s really important not to assume that others must be feeling a certain way. They might be suffering in ways you can’t even imagine, so it’s necessary to clearly communicate, “This is how I feel about it,” and then take time to listen to how the other two feel. I think that speaking based on assumptions is the scariest thing.

Do have any advice for women who’d like to start a band like Chilli Beans.?

Maika: I’d say, “Just try it once.” If I hadn’t auditioned for the opportunity that got me into music, I wouldn’t be doing Chilli Beans. now. Lately, I’ve been really feeling how all these small actions add up to where I am today. I think you’ll enjoy it if you start with your favorite songs. Just try anything first. That way, you’ll figure out whether it suits you or not, and whether you want to keep at it or not.

Moto: Well, I think it’s OK to try putting out what’s inside your head and be disliked for it. For example, if you’re suffering because you feel like you’re a nobody, it’s OK to just express how you feel. I didn’t have confidence at first either, but that’s just who I am, so what can you do? You’re free to express things, so if you have something you want people to hear and you try putting it out there, you might be surprised to find that there will be those who empathize and say, “That’s great!”

Lily: It might actually be pretty good to start telling people around you that you want to be in a band and not just keep it to yourself. I’ve found that when you tell people you trust or the people around you about the direction you want to go or how you feel about something, you can sort of manifest that future in a surprising way.

This interview by Rio Hirai (SOW SWEET PUBLISHING) first appeared on Billboard Japan

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With the long-awaited sequel Spinal Tap II: The End Continues now in theaters, director Rob Reiner joins with co-creators Christopher Guest, Michael McKean and Harry Shearer to take fans on a behind-the-scenes look at the fake history of fictional rock band Spinal Tap in a new book.

On sale for $21.74 (regularly $29) on Amazon, A Fine Line Between Stupid and Clever: The Story of Spinal Tap also takes a look at the making of the original 1984 mockumentary This Is Spinal Tap and how it went from a cult classic to entry into the National Film Registry.

$30 $35 14% off

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If you’re an Amazon Prime member, you can order now and A Fine Line Between Stupid and Clever will be delivered to your home in less than two days, thanks to Prime Delivery.

Not a member? Sign up for a 30-day free trial to take advantage of all that Amazon Prime has to offer, including access to Prime Video, Prime Gaming and Amazon Photos; fast free shipping in less than two days with Prime Delivery; in-store discounts at Whole Foods Market; access to exclusive shopping events — such as Prime Day and Black Friday — and much more. Learn more about Amazon Prime and its benefits here.

The biography is also available at BookShop.org for $32.55 (reg. $35), while A Fine Line Between Stupid and Clever can be purchased at Barnes & Noble priced at $30 (reg. $35). Additionally, B&N has a Rob Reiner-signed copy of the book for $35.

How to buy 'A Fine Line Between Stupid and Clever: The Story of Spinal Tap' online

‘A Fine Line Between Stupid and Clever: The Story of Spinal Tap’

by Rob Reiner

$30 $35 14% off

Buy Now on Amazon

With Christopher Guest, Michael McKean and Harry Shearer


A Fine Line Between Stupid and Clever is also available as an Audible audiobook, which is free to listen to for subscribers only.

If you’re not a subscriber, you can sign up for a 30-day free trial. Audible starts at $14.95 per month and grants you access to one best seller or new release title per month, a library of thousands of podcasts, audiobooks, and originals, exclusive discounts and more. Once signed up, you’ll receive one credit for any audiobook on Audible, including A Fine Line Between Stupid and Clever: The Story of Spinal Tap.

Meanwhile, the Criterion Collection released a new 4K Ultra HD restoration of the original 1984 film. Right now, it’s on sale for $34.99 (reg. $49.95) on Amazon, a 30% savings. The Blu-ray edition is also on sale for $27.99 (reg. $39.99) from the retail giant.

How to buy 'This Is Spinal Tap'

‘This Is Spinal Tapp’

Criterion Collection

$34.99 $49.95 30% off

Buy Now on Amazon

Blu-ray, 4K Ultra HD


Want more? For more product recommendations, check out our roundups of the best Xbox dealsstudio headphones and Nintendo Switch accessories.

Oh, boy. Sabrina Carpenter is locked in to make her hosting debut on Saturday Night Live, and she says the show has no idea what’s coming for it.

The singer was announced as one of SNL‘s next guest stars on Thursday (Sept. 18), with NBC revealing that she will pull double duty as both the host and musical guest of its Oct. 18 episode. Bad Bunny and Amy Poehler will also host episodes at the beginning of the upcoming season — which kicks off Oct. 4 — while Doja Cat and Role Model will serve as the first two musical guests.

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Shortly after the news was unveiled, Carpenter shared it on her Instagram and wrote, “they’re gonna regret this.”

The Grammy winner’s hosting debut has been a long time coming. She first appeared on the show in May 2024 to perform her breakthrough single “Espresso,” a few months after which she joined in on SNL‘s 50th-anniversary festivities to perform “Homeward Bound” with Paul Simon and star alongside Pedro Pascal in a hilarious “Domingo” sketch.

Now, Carpenter will return to 30 Rock with a brand-new album under her belt, with Man’s Best Friend dropping in August. Featuring Billboard Hot 100-topping lead single “Manchild,” the project debuted at No. 1 on the Billboard 200, marking Carpenter’s second album to do so.

“you guys have made Man’s Best Friend my second #1 album and my highest debut ever,” she reacted on Instagram at the time. “that is very surreal!!! i feel so lucky to have such beautiful love and support all around me … to see the way you are all resonating with it just makes me feel like the luckiest girl in the world.”


  

Stefon Diggs has spoken out publicly for the first time since Cardi B revealed she’s pregnant with her fourth child and first with the NFL star.

The New England Patriots receiver was asked about the pregnancy during a press conference following practice on Wednesday (Sept. 17), and Diggs attempted to play coy.

“Oh, my personal life? I told you about that. We don’t talk too much about my personal life,” Diggs said. “But, I heard about that.”

Diggs shed more light about his thoughts regarding the pregnancy while commenting on a Cardi B Instagram post from Wednesday (Sept. 17), where The Bronx bombshell spoke about her upcoming Little Miss Drama Tour.

“Proud of you for staying focused ,” he said. “100% team boy… Thinking of Spanish names.. right now.”

Cardi B revealed she was pregnant with baby No. 4 during an interview with Gayle King for CBS Mornings on Wednesday.

“Yes, I am [pregnant]. I’m having a baby with my boyfriend, Stefon Diggs,” she said. “I’m excited. I’m happy. I feel like I’m in a good space. I feel very strong. I feel very powerful that I’m doing all this work. But I’m doing all this work while I’m creating a baby, and me and my man, we’re very supportive of each other.”

Cardi’s currently gearing up for the release of her sophomore album Am I the Drama?, which will hit streaming services on Friday (Sept. 19).

Cardi and Diggs began dating at the top of 2025 and went public with their relationship in May.


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Margo Price had no idea when she performed on Jimmy Kimmel Live on Tuesday (Sept. 16) that she would be its last musical guest before ABC’s controversial decision to suspend it this week — but at least she helped the show go out with a poignant message.

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In a Thursday (Sept. 16) post on Instagram, the country star shared a clip from her performance of “Don’t Let the Bastards Get You Down” on the late-night show and wrote, “If this was the last word, I’m glad it was mine.”

The lyrics Price sings in the clip are extra meaningful now. “Keep all them fascists underground,” she sings in the video, passionately strumming a guitar. “Don’t let the bastards get you down.”

Her post comes one day after ABC announced that it was “indefinitely” shutting down Kimmel after the late night host made comments during his monologue on the episode featuring Price’s performance. Jimmy Kimmel’s contested remarks had been in response to the assassination of Turning Point founder and polarizing political commentator Charlie Kirk the week prior.

“We hit some new lows over the weekend with the MAGA gang desperately trying to characterize this kid who murdered Charlie Kirk as anything other than one of them and doing everything they can to score political points from it,” Kimmel had said on the program.

After the comedian’s comments, Nexstar — which owns 28 local affiliate stations of NBC — announced that it would be suspending Kimmel for the immediate future. Shortly before that, Federal Communications Commission chair Brendan Carr had threatened to revoke the licenses of any network affiliates choosing to air Kimmel’s remarks, which he referred to as “news distortion” and “the sickest conduct possible.”

And while ABC’s suspension of Kimmel has prompted an outcry of concern that the decision directly infringes on free-speech laws, President Donald Trump celebrated the news with a post on Truth Social.

“Congratulations to ABC for finally having the courage to do what had to be done,” he wrote Wednesdsay (Sept. 17). “That leaves Jimmy (Fallon) and Seth, two total losers, on Fake News NBC. Their ratings are also horrible. Do it NBC!!!”