Slipknot says a cyber-squatter has been using the URL slipknot.com to advertise counterfeit merchandise for more than two decades — and the heavy metal band is now waging a legal battle in pursuit of the domain name.

A federal lawsuit filed on Wednesday (Oct. 15) alleges that an anonymous web operator has held the domain slipknot.com since 2001. Unable to use this domain for Slipknot’s official website, the famously masked metal band hosts its store on the clunkier URL slipknot1.com.

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Little is known about the slipknot.com cyber-squatter, other than the fact that they own a post office box in the Cayman Islands. The band, which has been recording music and touring since the 1990s, says this individual clearly had bad intentions from the outset.

“The domain name was registered in an effort to profit off of plaintiff’s goodwill and to trick unsuspecting visitors — under the impression they are visiting a website owned, operated or affiliated with plaintiff — into clicking on web searches and other sponsored links,” writes Slipknot’s lawyer Craig Reilly.

The lawsuit claims slipknot.com hosts pay-for-click advertising that directs users to counterfeit Slipknot merchandise, including versions of the band’s signature masks, t-shirts and sweatshirts emblazoned with the band’s trademarks. These sponsored links hurt sales of official Slipknot merch, the band alleges.

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“A fan of plaintiff or someone who otherwise wanted to purchase authorized Slipknot merchandise would undoubtedly visit the slipknot.com website assuming it belonged to plaintiff and then purchase the slipknot merchandise linked to on the site, causing damages to plaintiff,” writes Reilly.

Slipknot is now bringing claims under the Anti-Cybersquatting Consumer Protection Act, a 1999 federal statute that created a pathway for individuals to reclaim domain names through litigation. They’re asking a judge to enter an injunction giving them ownership of slipknot.com.

The case also accuses slipknot.com’s unknown site operator of trademark infringement and unfair competition. Slipknot is seeking unspecified financial damages in addition to an injunction.

A Slipknot rep did not immediately return a request for comment on Friday (Oct. 17).

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Sebastian Zar, an attorney whose clients included Post Malone, died suddenly on Sunday (Oct. 12). He was 36.

The New York-based Zar worked for Theo Sedlmayr & Associates. “We’re received an outpouring of messages from people in our industry sharing their thoughts about Sebastian,” Sedlmayr told Billboard. I like to believe that’s because he was a kindred spirit to many, passionate about supporting creators of music in all its forms. He’ll be deeply missed by everyone whose lives were touched by his positive energy.”

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In 2018, Billboard highlighted Zar, who grew up in Great Neck, N.Y.,  as a “rising star” — one of five industry executives still in their 20s but already making an impact. At the time, Billboard wrote: “While at Syracuse University School of Law, Zar began managing artists. At 26, he started his own law firm. He has since landed at Sedlmayr, where his clients include Post Malone and Pusha T.”  Zar told Billboard of his desire to meet whatever his clients needed: “In the streaming age, a lot of these young artists don’t want a label deal,” says Zar. “I’m willing to put on as many hats as necessary to get them to where they want to be.” 

Range Media Partners’ Matt Graham, who had known Zar for nearly 20 years, says the late attorney made an instant impression. “Sebastian’s hustle, commitment and constant desire to find the next great artist was apparent from the day I hired him as an intern 17 years ago and that fire was never extinguished,” he tells Billboard in a statement. “I loved him for his confidence and for staying present in my life and the lives of everyone he cared about. He never let too much time pass without catching up. I’m gutted to lose him as a friend and little brother, and we are all worse off in the music industry without him advocating on behalf of the artists he loved so much.” Zar worked with Range as outside counsel.

Like Graham, Universal Music Publishing Group chairman and CEO Jody Gerson had known Zar for years, first becoming aware of him through her son. “My son Julian followed Sebastian’s music blog, Watch My Ego, when he was in high school. He reached out to Sebastian, and the two quickly bonded over their shared love of music and discovering new artists,” Gerson tells Billboard. “Later, Sebastian told Julian he was applying to law school and hoped to practice entertainment law. He asked if I might write him a letter of recommendation, and after getting to know him better, I was more than happy to do it. I was thrilled when he called to say he’d been accepted — and even more thrilled years later when Theo Sedlmayr took a chance on him and brought him into the firm. Sebastian was a truly special person, and he has left us far too soon.

“I am deeply saddened by his passing and send my heartfelt condolences to his family and loved ones,” Gerson continues. “His parents should be so proud. Sebastian was a beautiful and kind person — a wonderful attorney, and at his core, a genuine music fan. We will miss him dearly.”

Zar is survived by his siblings, James Zar and Kimberly Bloorian.

Taylor Swift’s The Life Of A Showgirl isn’t moving from the spotlight on the ARIA Charts.

After snagging the entire top 12 of the national singles chart last week, Taylor dominates once again with eight of the top 10, with The Fate Of Ophelia locking up top spot for a second week.

Meanwhile, The Life Of A Showgirl enters a second week at No. 1 on the ARIA Albums Chart, as Swift completes another chart double.

Across her career, Swift has accumulated 70 weeks on top of the national albums survey, according to ARIA, an accomplishment that has origins dating back in 2010 with Speak Now, which spent one week at the top.

The top new release on the latest ARIA Albums Chart, published Friday, Oct. 17, is Pete Murray’s Longing, at No. 5. Longing is the Queensland singer and songwriter’s seventh full-length studio album and first in eight years, three of which reached No. 1 (Feeler in 2003, See The Sun in 2005, Summer At Eureka in 2008).

Another artist from the Sunshine State, Gold Coast singer, songwriter and producer Lyric, bags a debut 10 appearance with her second EP, The Art Of Falling First. It’s new at No. 9, and is one of eight homegrown titles on the survey.

Beloved Indigenous artist Baker Boy bags a top 20 appearance with his sophomore album, DJANDJAY, new at No. 13. The winner of six ARIA Awards and the recipient of the Young Australian of the Year in 2019, Baker Boy (real name: Danzal Baker) dropped his debut album Gela in 2021, for a No. 3 best.

Meanwhile, former Noiseworks and INXS frontman Jon Stevens snags a top 40 debut  with his 11th solo album, Shimmer. It’s new at No. 30. With Stevens on the mic, Noiseworks scored four top 10 albums, topping the tally in 1991 with Love Versus Money.

Sheppard founding member Amy Sheppard drops in at No. 45 with her debut full-length album, Born To Be Country. The Brisbane artist enjoyed a No. 16 peak with her 2022 EP Nothing But Wild, and landed four top 10 albums with Sheppard, including a No. 1 with 2018’s Watching The Sky.

Over on the ARIA Singles Chart, the highest new entry belongs to BLACKPINK’s Jisoo and former One Direction singer Zayn, as their collaboration “Eyes Closed” opens at No. 47. No Australian titles appear in the top 50.

All Time Low notch up double digits with Everyone’s Talking!, which arrives today, Oct. 17, through the alternative rock veterans’ own label Basement Noise Records.

Everyone’s Talking! is the 10th full-length studio LP from the Maryland quartet, comprising Alex Gaskarth, Jack Barakat, Rian Dawson and Zack Merrick, and features the previously-released “Sugar,” a collaboration with Grammy Award winning singer and songwriter JoJo, and the first single “Suckerpunch.”

All Time Low have landed 10 titles on the Billboard 200 chart, including five top 10 appearances. All told, the rockers have racked up 5 billion career streams, and led Billboard’s Alternative Airplay chart with “Sleepwalking” (in 2023) and “Monsters,” featuring blackbear, the latter logging 18 weeks at the summit in 2020-21.

All Time Low has been roadtesting new material on their 30-plus-date Everyone’s Talking! Tour, which kicked off earlier this month and endured a hiccup earlier this week when the band skipped shows at Red Rocks and Seattle when frontman Gaskarth was sidelined with a throat infection.

Gaskarth has been cleared to continue on the tour, reads a statement (though he’s being “extremely mindful of his voice”) and fans are invited to celebrate the new LP with a free concert today, Oct. 17 at The Fremont Street Experience in Downtown Las Vegas, ahead of the band’s spot at the When We Were Young Festival this weekend.

In the closing weeks of 2025, All Time Low will head Down Under for the 2025 Good Things Festival, a three-date east coast run of Australia featuring the likes of Tool, Weezer and Garbage. The U.K. and Europe beckon in 2026, when All Time Low will embark on a stretch of headline arena shows starting Jan. 20 in Glasgow, Scotland, and visiting London, Paris, Prague, Barcelona and elsewhere.

Everyone’s Talking! is issued in partnership with Photo Finish Records/Virgin Music Group. Stream it in full below.

Kevin Parker winds back the clock, tunes up the dancefloor and reminds us to get our arms out wide (or up high) on Deadbeat, Tame Impala’s fifth and latest full-length studio album.

Dropping at midnight, Oct. 17, Deadbeat is the production maestro’s first Tame Impala album in five years, and the first through the Sony Music network, by way of a new deal with Columbia Records.

As previously reported, Deadbeat is inspired by the “bush doof” culture of Parker’s native Western Australia rave scene, a moment in time impressively captured on its first release, “End of Summer”.

Parker will assemble his touring band for a raft of newly-announced pan-European and U.K. concerts next year, starting April 4 at Super Bock Arena in Porto, Portugal and wrapping up May 13 at 3Arena in Dublin, Ireland.

He’ll get matters underway next when, when The Deadbeat Tour kicks off its North America run with a show Oct. 27 at Brooklyn’s Barclays Center.

Deadbeat drops half a decade after The Slow Rush, from February 2020, a record that went to No. 1 on Australia’s ARIA Chart, and earned career peak positions on the Billboard 200 and Official U.K. Albums Chart UK, both at No. 3. Its predecessor, 2015’s Currents, topped the Australian chart and crashed the top 5 in the U.S. (at No. 4) and in the U.K. (No. 3), where Parker and his Tame Impala bandmates collected the Brit Award for best international group.

Earlier this year, Parker won his first Grammy Award from five career nominations, as Tame Impala collected the golden gramophone for best dance/electronic with “Neverender,” a collaboration with Gaspard Augé and Xavier De Rosnay, the French electronic music duo better known as Justice.

Deadbeat also features the previously released cuts “Loser” and “Dracula,” Tame Impala’s first and appearance on the Billboard Hot 100, on which it recently opened at No. 55. Deadbeat can be streamed in full below.

Ty Dolla $ign dropped his fourth studio album Tycoon on Friday (Oct. 17) via Atlantic Records.

“A tycoon is a boss. It came from a Japanese word ‘tycoon,’ which means ‘great lord.’ It’s the same thing — great boss, the best at your craft. The top of your game, right?” he told Billboard in a new interview. “That’s what I feel like I’ve reached. There’s still heights I wanna reach, there’s still places I wanna go, there’s still more goals I have, but I’m there. I’m one of the biggest artists in the game.”

He released three singles prior to the project: the Wayne Wonder-sampling “All In,” “Smile Body Pretty Face,” featuring Kodak Black and YG, and “Show Me Love,” featuring Tory Lanez.

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Tycoon comes five years after Ty’s last solo studio album Featuring Ty Dolla $ign. While nodding to his consistency as a collaborator, the 25-track project included multiple collabs with Ye, Mustard, Quavo, Nicki Minaj, Jhené Aiko, FKA twigs and more. Featuring Ty Dolla $ign peaked at No. 4 on the Billboard 200 and No. 2 on Top R&B/Hip-Hop Albums. In September, Billboard honored Ty with the Collab Impact Award at The Future of Music & Money event, in partnership with UBS and powered by Feeture.

He and Ye dropped their ¥$ collab albums Vultures 1 and Vultures 2, the former of which topped the Billboard 200 for two weeks. Vulture 1‘s hit single “Carnival,” featuring Rich the Kid and Playboi Carti, reached No. 1 on the Billboard Hot 100, marking Ty’s second Hot 100 No. 1 after 2018’s “Psycho” with Post Malone.

Listen to Tycoon below.

Underpinning The Last Dinner Party’s polished, Rococo-era aesthetic is an epic striving for greatness. When the London-formed five-piece crashed into the indie consciousness two years ago, they arrived seemingly fully-formed, with a fairytale arc to their origin story. Major record labels had clamoured over them after YouTube footage of a set at the tiny Windmill pub in Brixton gathered momentum in late 2022, leading to a deal with Island. 

The success of the storming and anthemic debut single “Nothing Matters” made the group, alongside recent Billboard U.K. cover stars Wet Leg, a rare British guitar band from the last few years admitted to the genre’s increasingly rarefied upper echelons. It was a remarkable rise, though perhaps what’s more admirable is how The Last Dinner Party turned all of that immediate attention into a foundation for longevity as a unit. 

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Rather than blast straight into the theaters it could have filled, the group toured smaller venues and took a step back from media commitments in order to grow their confidence as performers, honing one of the most energetic live shows on the circuit. Yet in the U.K., The Last Dinner Party’s swift ascent became subject to scrutiny online, with the term “industry plant” disproportionately thrown its way; images of early gigs from 2021 onwards, however, show that the band had been steadily gathering a cult following for years prior to its mainstream crossover moment.

By early 2024, their BRIT and Mercury Prize-nominated debut LP Prelude to Ecstasy reached the top of the Official U.K. Albums Chart with the biggest opening week for a debut by a band in the U.K. since 2015. Unlike its explosively successful predecessor, which was buoyed by tight, richly-decorated pop melodies, new record From the Pyre is darker and more ambitious. These 10 songs see The Last Dinner Party weave tales of greed and obsession, hinting at a fabulist side to its writing by pulling from Greek mythology, and references such as Joan Of Arc, apocalyptic imagery and the Medieval age. 

With an extensive U.K. headline tour on the horizon, including first-time arena billings, From the Pyre arrives as The Last Dinner Party makes good on years of industry hype with a definitive artistic statement. Consider the moment met. See our ranking of the 10 songs from From the Pyre below.


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This weekend, Sabrina Carpenter will return to the Saturday Night Live stage — but this time, she’ll be hosting.

In new promos for her double duty as host and musical guest on Saturday’s show, Carpenter scoffs when castmember Marcello Hernandez asks if she’s “scared to host.”

“Me? I perform in front of thousands of screaming fans every night,” Carpenter replies casually.

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“So you’re not scared?” Hernandez asks, to which Carpenter responds, “No. I’m terrified. But not of hosting. Deep down, my greatest fear is…”

At this point, Carpenter and Hernandez share their identical greatest fear in unison: ” …My dentist grows a really long beard and during the appointment it tickles my chest.” The pair look at each other stunned and just walk away.

Elsewhere in the promos, Carpenter and Hernandez give a pep talk to any viewers who might be washing dishes, and Carpenter threatens to arrest the cameraman for being too hot — just like she does in the crowd on her Short n’ Sweet Tour.

In fact, she previously arrested Hernandez, in character as Domingo, at one of her Los Angeles shows last year. He was reprising his role as the seductive SNL character who originated in a viral sketch last fall set to the tune of Carpenter’s smash hit “Espresso.” “My name’s Domingo,” Hernandez said from the crowd to wild cheers, after catching Carpenter’s attention. When Carpenter asks where he’s from (“I’m from Miami, baby,” he growls), she replies, “I wish you were from my bedroom.”

While it’s her first time hosting, Carpenter was a musical guest in May 2024 and she also popped up on February’s SNL50 special, duetting with Paul Simon and co-starring with Pedro Pascual in a new Domingo sketch. Carpenter is currently back on her Short n’ Sweet Tour — though she’s also promoting her August album Man’s Best Friend this time around — and she’ll return to L.A. for six new dates, wrapping Nov. 23.

Saturday Night Live airs at 11:30 p.m. ET/8:30 p.m. PT on NBC and streams on Peacock. (See all the options to watch SNL here.) Watch the new promos below:

The late Ace Frehley‘s history on the Billboard Hot 100 chart is stacked with iconic rock smashes like “Beth,” “Rock and Roll All Nite (Live)” and “Shout It Out Loud,” all from his work as a founding member of the rock band KISS, in addition to his own late 1970s solo smash “New York Groove.”

After KISS formed in 1973 with Peter Criss, Frehley, Gene Simmons and Paul Stanley, the band would begin its Billboard chart takeover in April 1974, when its self-titled debut album hit the Billboard 200, while the single’ “Kissin’ Time” arrived on the Hot 100 the following month.

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Before Frehley departed KISS in the early 1980s, the band had racked up an impressive collection of hits on the Hot 100, including top 40-charting singles like “Rock and Roll All Nite (Live)” (a No. 12 hit in 1976), “Shout It Out Loud” (No. 31 in 1976), the ballad “Beth” (No. 7 in 1976), “Hard Luck Woman” (No. 15 in 1977) and the disco-flavored “I Was Made for Lovin’ You” (No. 11 in 1979). (Frehley would famously reunite with KISS in 1996 for a reunion tour and new albums. He left the act a second time in 2002.)

In 1978, the four founding members of KISS each released their own solo albums and singles, with Frehley scoring the highest-charting Hot 100 hit of the quartet, with his No. 13-peaking “New York Groove” in 1979. Its parent album, Frehley’s self-titled solo debut, would reach No. 26 on the Billboard 200 and become his first of more than 10 charting albums (both as a soloist or as the frontman of the band Frehley’s Comet) through 2024’s 10,000 Volts.

Below is a top 10 ranking of Frehley’s biggest hits on the Hot 100 chart, as a soloist and during his time with KISS. The ranking is based on actual performance on the weekly Hot 100 through the Oct. 18, 2025, chart. Titles are ranked on an inverse point system, with weeks at No. 1 earning the greatest value and weeks at No. 100 earning the least. Due to changes in chart methodology over the years, eras are weighted to account for different chart turnover rates over various periods.

Temu wants to dismiss a lawsuit over counterfeit MF Doom merchandise brought by the late hip-hop legend’s estate, arguing in a new court filing that it’s not responsible for the actions of independent Chinese sellers who use the e-commerce site.

Gas Drawls LLC, which manages the estate of MF Doom (Daniel Dumile), filed suit in August, accusing Temu of selling dozens of knock-off t-shirts, hats, posters and other merchandise displaying the deceased rapper’s name and signature mask. Temu’s attorneys have now responded with a court filing that calls the case legally defective.

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“Gas Drawls’ complaint suffers from a fundamental problem: it fails to plead any plausible facts supporting its conclusory allegation that Temu — rather than independent third-party sellers — made, sold and shipped the allegedly infringing products,” write Temu’s lawyers from the firm Knobbe Martens in the Thursday (Oct. 16) filing.

Temu’s attorneys say the company’s business model clearly leaves the selling of products to independent third parties in China. They argue that Temu is just the intermediary — and that under intellectual property law, a platform can’t be held directly liable for infringement by third-party users.

Another problem with the lawsuit, argues Temu, is that the MF Doom estate is trying to claim ownership of the deceased rapper’s likeness. But Temu says post-mortem rights of publicity do not exist in the United Kingdom, where MF Doom died in 2020.

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Temu maintains that it “takes intellectual property rights seriously” and has a robust system for users to report infringement on the site. According to the motion, MF Doom’s estate never availed itself of these procedures before resorting to litigation.  

“Nonetheless, upon receiving the draft, Temu promptly investigated the matter,” write Temu’s lawyers. “Acting out of an abundance of caution and in accordance with its IP policies — not as an admission of merit to Gas Drawls’ claims — Temu removed every listing that it could identify from the poor-quality screenshots provided.”

Temu is asking a judge to dismiss all of the MF Doom estate’s claims outright. And if the lawsuit moves forward, the company wants, at the very least, to remove the estate’s “irrelevant and inflammatory” allegations that accuse it of “unethical” and “horrific” business practices.

The MF Doom estate declined to comment on the motion. But its attorney, Jeff Gluck, pointed out to Billboard that some infringing merchandise is still available on Temu despite the company’s claims to the contrary.

Gluck is also representing Twenty One Pilots in another lawsuit against Temu. Brought just days before the musical duo debuted their new album Breach atop the Billboard 200 last month, that case similarly alleged that Temu is flooding the market with cheap knockoff merch.

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