As Lady Gaga continues promoting her latest single “The Dead Dance,” the pop superstar is making sure everyone knows the choreography to her new song — including late-night host Stephen Colbert.

In a new video posted to Instagram by the superstar, the comedian and the CBS show, Gaga brought the Late Show host to The Bitter End — the famous Greenwich Village bar where the singer launched her music career in the mid-2000s — and asked him to dance with her to her new single. In the clip, the pair execute the moves to the song’s post-chorus, before a bonnet-wearing Colbert pretends to choke on something, causing Gaga to erupt in laughter.

In the video’s caption, Gaga teased that there was more than just a fun dance still to come. “Interview coming soon,” she wrote alongside a skull emoji.

The choreography to the new song, created by Parris Goebel, was featured prominently in Gaga’s video for “The Dead Dance.” Directed by Tim Burton and filmed on location at the Isla de las Muñecas (“Island of the Dolls” in Xochimilco, Mexico), the video has garnered more than 20 million views in the week since Gaga shared it.

Gaga’s latest video comes on the heels of her recent appearance on The Late Show With Stephen Colbert, where she performed a stripped-down cover of her Mayhem song “Vanish Into You.” The appearance came as the latest in her string of critically lauded live performances from the pop star, including her live debut of “The Dead Dance” at the 2025 MTV Video Music Awards and her recently expanded world tour The Mayhem Ball.

Watch Gaga and Colbert do “The Dead Dance” below:

The Wits Innovation Centre and Machine Intelligence and Neural Discovery (MIND) Institute at Wits University in Johannesburg, South Africa, is launching the AI & African Music project, it was announced on Wednesday (Sept. 10). The initiative aims to empower creatives to explore the intersection of cutting-edge technology and African musical traditions and sounds.

Musicians, producers, composers and music educators of African nationality and living in an African country, regardless of which genre they work in, are invited to submit AI-driven music project proposals here. The deadline for submission is Sunday (Sept. 14). Proposals can include: using AI to co-create, perform and teach music in African traditions; recording, transcribing and preserving African musical works, from oral heritage to digital formats; reimagining local, traditional, indigenous or contemporary genres; and building and localizing AI tools that understand African sounds, languages and workflows.

Selected honorees will receive 30,000 South African rand per month for four months and team up with an AI engineer and program advisor to develop their unique ideas over a six-month process, starting with an industry exchange and launch workshop in November and culminating in a showcase in April 2026. Both events will be held at Wits University.

“As a dedicated partner to the continent’s music ecosystem, Billboard Africa is thrilled to support The MIND Institute’s AI & African Music initiative. We’ve seen countless examples of how the marriage of African creativity and innovation not only propels culture forward but also changes lives, and nowhere has this been more evident than across Africa’s vast and rich musical landscape,” said Nkosiyati Khumalo, editor-in-chief at Billboard Africa, in a press release. “Technological projects which center African creativity allow for more opportunities to transmit culture, to create new pathways for discovery and collaboration, and to influence the global music and creative industries. We look forward to supporting and amplifying the exciting work the candidates produce.”

South African-born, U.S.-based industry veteran and investor Charles Goldstuck is funding the project. Professors Christo Doherty of the Wits Innovation Centre and Benjamin Rosman, director of the MIND Institute, are driving AI & African music.

“African musical creativity offers tonalities, textures and traditions that challenge and expand today’s AI tools — most of which are trained on Western data,” said Doherty in a statement. “This project takes a bold step toward placing African creators at the centre of global technological transformation.”

Added Rosman: “The MIND Institute is committed to driving homegrown innovation that reflects Africa’s diverse cultural landscape. Through this project, we’re not just participating in the global AI conversation — we’re leading it. By supporting musicians to experiment with AI, we’re unlocking new forms of expression and ensuring Africa is a creator, not just a consumer, in the future of artificial intelligence.”

2025 continues to be a key year for K-pop on top 40 radio, as HUNTR/X’s “Golden” reaches the top 10, rising two spots to No. 10, on Billboard’s Pop Airplay chart (dated Sept. 13).

The song from the soundtrack to the smash animated Netflix film KPop Demon Hunters is the sixth Pop Airplay top 10 by an act with ties to Korean pop, and the first since BLACKPINK’s ROSÉ and Bruno Mars’ “APT.,” which became the chart’s first such No. 1, for five weeks, in February-March.

As previously reported, “Golden” crowns the multimetric, all-genre Billboard Hot 100 for a fourth week, with HUNTR/X — the singing trio of EJAE, Audrey Nuna and REI AMI (in the roles of KPop Demon Hunters star characters Rumi, Mira and Zoey) — having become the first female group associated with Korean pop to top the chart. (EJAE and REI AMI were born in Seoul, South Korea; Nuna is from New Jersey.)

Here are the select six K-pop-associated Pop Airplay top 10s, beginning with PSY’s “Gangnam Style” in 2012:

Pop Airplay chart reporter KMVQ (99.7 Now) San Francisco leads all panelists with nearly 1,000 plays to date for “Golden,” dating to its first spin in late June. SiriusXM’s Hits 1 and KIIS (102.7 KIIS-FM) Los Angeles have also given the song prominent exposure.

The Pop Airplay chart ranks songs by weekly plays on more than 150 mainstream top 40 radio stations monitored by Mediabase, with data provided to Billboard by Luminate.

It’s free Billboard charts month! Through Sept. 30, subscribers to Billboard’s Chart Beat newsletter, emailed each Friday, can unlock access to Billboard’s weekly and historical charts, artist chart histories and all Chart Beat stories simply by visiting the newly redesigned Billboard.com through any story link in the newsletter. Not a Chart Beat subscriber? Sign up for free here.

When girl group KATSEYE met up with Billboard News for the latest edition of the chat-and-chew series “Takes Us Out,” the six-member band were psyched to order whatever they wanted at L.A.’s Jollibee, which offers up a mix of typical fast food (fried chicken) mixed with Filipino comfort food (Palabok Fiesta).

Host Tetris Kelly deferred to “Filipino Queen” Sophia when it came to ordering, with the singer encouraging her bandmates — Daniela, Lara, Manon, Megan and Yoonchae — to definitely go for the adobo rice as she broke down the vibe at the popular California spot. “I grew up have Jollibee like all the time, almost every single week with my family,” she said, noting that when the band went to the Philippines last year for a promo tour she specifically requested that their catering be all Jollibee at their mall shows.

But it wasn’t all about food, the international group also described what their first night together was like after being brought together on grueling 2023 Dream Academy reality competition series, a collaboration between K-pop superstar factory HYBE and Geffen Records.

“Slept like a baby,” Sophia laughed, as Lara added that she, Megan and Daniela had a sleepover to celebrate and watched the series’ finale on YouTube. They stayed up all night and then drove to a fast food joint in the middle of the night after promising themselves they’ve have a big, lavish celebration to mark the special ocassion.

Host Kelly reminded Lara that on the finale she promised her bandmates that their music was going to “change the world,” a moment he said brought tears to his eyes. “A year later I’m like, wait, y’all doing it though!” Kelly said to a collective “awww.”

They are definitely making their mark, with major performances such as their spot at this summer’s Lollapalooza in Chicago and their run through their Billboard Hot 100 No. 90 hit “Gnarly” during the pre-show of the recent 2025 MTV VMAs; they were also up for two awards at the VMAs and took home PUSH performance of the year for their single “Touch.” “Surreal, like it’s so, so crazy that we have made it so far in such little time,” said Daniela.

Speaking of nominations, when Kelly brought up whispers of a possible best new artist nod at next year’s Grammy Awards Lara was like “no way,” saying it doesn’t feel like their time yet, despite their chart success with “Gnarly” and their No. 63 Hot 100 single “Gabriela.” If it happens, Lara said, it would involve a lot of “crying and throwing up” and calling their families.

To be fair, they’ve definitely put in the work, including in an instantly viral Gap ad cued to Kelis’ “Milkshake” that featured some fierce dance moves, not to mention accidentally spot-on timing in the midst of the Sydney Sweeney American Eagle ad controversy. “It’s like so iconic the choreo. I didn’t know it was gonna blow up that much,” said Daniela of the hand motions that have become instant classics.

In fact, Manon said she visited a Gap store the day before the chat and saw a group of girls taking turns recording each other doing the ad’s moves among the racks. They also got hyped talking about the upcoming launch of their first-ever world tour, which kicks off on Nov. 15 in Minneapolis. Daniela said it’s “so, so cool” how fast it has all come together, with the Beautiful Chaos outing representing another peak in their rapid rise.

“We just can’t wait to travel to new places, meet new icons and just have our own show,” she said. “We haven’t really had that yet, so it’s really cool.” Lara said fans can expect some “variation” in the music, with less structure and a more playful vibe, with the singer teasing that they’d love to pay homage to other girl groups such as Fifth Harmony with a “Miss Movin’ On” cover or maybe songs from SWV, TLC or the Pussycat Dolls’ “Buttons.”

Watch the group discuss the rising success of “Gabriela,” being open about their personal relationships, their mind-blowing Lolla experience and why sometimes not everyone can make it to every performance in the video above.

THE BIG STORY: Barry’s Brand

Barry Manilow’s lawyers have been busy. Last summer, they got into a trans-Atlantic brawl with Hipgnosis over $1.5 million in allegedly unpaid bonuses from his catalog sale. Now they’re launching an appeal to secure “Copacabana” trademarks.

The star’s attorneys are seeking protection over a number of brand names tied to the 1978 megahit, including like “Barry Manilow’s Copacabana Hotel & Casino” and “Barry Manilow’s Copa.” It’s unclear exactly what’s planned – and his reps wouldn’t say.

After a bit of digging, it turns out Manilow has actually been trying to get “Copacabana” trademarks for decades. But such efforts have so far been unsuccessful, thanks largely to one big problem: The name is already legally controlled by the owners of THE Copacabana, the legendary Manhattan nightclub referenced in Manilow’s song.

For the whole strange story, go read the entire article here.

Other top stories this week…

TEAR THE SUIT OFF – George Clinton won a federal court ruling throwing out a lawsuit that claimed the late Parliament-Funkadelic keyboardist Bernie Worrell should be credited as a co-creator of the funk collective’s 1970s catalog. In response, his lawyer offered a legendary statement: “The Lord said, let there be funk — and no pretenders can shut it down or take it away.”

DAME DASH DEBT – Damon Dash filed for Chapter 7 bankruptcy, saying he has just over $4,000 to his name and owes more than $25 million in tax bills, child support and court judgments. Dash, who co-founded Roc-A-Fella Records with Jay-Z, auctioned off his one-third interest the label last year to help pay those mounting debts.

FAKE MERCH – Twenty One Pilots filed a lawsuit against the Chinese e-commerce giant Temu over allegations that the “unethical” company is flooding the market with cheap knockoffs of the band’s merchandise. The “Stressed Out” duo is the latest musical act to use the legal system to crack down on alleged sellers of counterfeit gear, following cases filed on behalf of Benson Boone and Tate McRae last month.

MUSIC LAW TRACKER – Billboard launched a handy legislative cheat-sheet to keep track of all pending bills before the U.S. Congress that could impact the music industry, including AI regulations, protections for rap lyrics, royalty reforms and more. The list, which will be updated regularly, features key details of each bill and its current status in the sometimes-confusing lawmaking process.

AI SETTLEMENT – Anthropic agreed to pay $1.5 billion to settle a lawsuit over allegations that the AI firm illegally used millions of books to train its AI models – a deal that came as major music companies and artists litigate their own similar suits against AI firms, including one against Anthropic. The deal was sparked by a key ruling this summer, which sided with Anthropic on crucial questions of “fair use” but also left the company facing billions in damages. The settlement, which will lock in the former and avoid the risk of the latter, was thus something of a strategic no-brainer for a company recently valued at $183 billion. But a judge has already expressed reservations about the deal.

LYRICS LITIGATION – A federal judge ruled that Musixmatch must continue to face an antitrust lawsuit over allegations that the company is trying to monopolize the market for providing lyrics to streamers like Spotify. Filed by rival LyricFind, the case claims Musixmatch inked an “unprecedented” exclusive deal with Warner Music Group, shutting out competing companies from that label’s huge catalog.

YNW PLEA DEAL – A co-defendant in rapper YNW Melly’s double-murder case, YNW Bortlen, took a plea deal from Florida prosecutors, avoiding a jury trial a day before it was set to begin. The lenient deal – which will see Bortlen serve less than 10 years in prison rather than a possible life sentence and won’t require him to testify against Melly — left even the judge impressed: “I’m not quite sure how your lawyers managed to do this.”

COPYRIGHTED CLICHÉ?– GloRilla asked a federal judge to dismiss a lawsuit claiming she stole the lyric “natural, no BBL” from a viral catchphrase, arguing that nobody can copyright that kind of short and “cliched” expression. Her lawyers cited seven other songs that had each featured a similar phrase, a reference to “Brazilian butt lift” surgery.

FIREAID PROBE – After months of accusations and internet conspiracy theories, a new report said FireAid committed no misconduct in its distribution of $100 million raised during a pair of all-star benefit concerts after the devastating Los Angeles wildfires in January. The report, the result of an independent investigation by the law firm Latham & Watkins, said the money went to organizations that directly aided fire victims.

DAMAGES DEMAND – One of Jimmie Allen’s alleged victims asked a federal judge to award her nearly $1.8 million in damages, a month after the country singer was held legally liable for sexually assaulting and secretly filming her in a Las Vegas hotel room: “Defendants’ predatory conduct … is not the kind of conduct tolerated in a civilized society,” her lawyers wrote.

THA SETTLEMENT – Darius “Deezle” Harrison, a producer on Lil Wayne’s hit 2008 Tha Carter III, reached a settlement with Universal Music Group to resolve a lawsuit claiming the music giant owed him more than a decade’s worth of performance royalties for the chart-topping album.

“FLAWED INTERPRETATION” – SoundExchange launched its appeal of a ruling last month that, somewhat shockingly, said the organization doesn’t have the power to file lawsuits to enforce its royalty demands. It has big implications: SoundExchange has regularly employed litigation for years to secure hundreds of millions of dollars from those who allegedly failed to pay up for sound recording royalties. In a statement, the group said the appeal would overturn an “erroneous ruling and flawed interpretation” of federal copyright law.

THEFT SHOP – A 29-year-old man named Patrick Maisonet was charged with ten felonies over his alleged robbery of Macklemore’s Seattle home in June, as well as a slew of other burglaries targeting the houses of legendary Seattle athletes like baseball Hall of Famer Ichiro Suzuki and retired football star Richard Sherman.

PRISCILLA SUIT UPDATE – Priscilla Presley’s ex-business partners added more claims to their lawsuit against her, including about the late Elvis Presley. The filing, which came in a case that claimed she “pulled the plug” on her own daughter, alleged that Prscilla “exerted undue pressure on Elvis, pushing him to his death.” Her lawyers quickly mocked the claims, likening them to conspiracy theories about the Kennedy assassination and the moon landing: “Take off the aluminum foil hat and face reality.”

SAMPLE SPAT – Ye (formerly Kanye West) was hit with a lawsuit claiming he sampled a 1975 soul song without permission on the song “Lord Lift Me Up” from his 2022 album Donda 2. Such claims are nothing new for Kanye: The controversial rapper has been sued more than a dozen times for failing to clear samples or interpolations, including a high-profile case from the estate of Donna Summer.

AI LAWYERING? – Fat Joe accused a lawyer for his former hypeman Terrance “T.A.” Dixon of sloppily using artificial intelligence to write legal briefs in their ongoing courtroom battle – including by citing “hallucinations” of legal cases that “simply don’t exist.” The allegations were made against the same opposing lawyer, Tyrone Blackburn, who was arrested this summer for allegedly hitting Fat Joe’s process server with his car.

DANCE DANCE RESOLUTION – Kelley Heyer, a TikTok influencer who says she created the viral dance to Charli xcx’s hit song “Apple,” reached a settlement with Roblox to resolve claims that the gaming platform sold her choreography to its users without permission. The case was one of many filed over short dance moves featured as so-called “emotes” in video games.