RM protects the family. In a cinematic new teaser for BTS‘ “2.0,” the band leader appears to channel a serious boss from the 1970s.

Posted Tuesday (March 31), the 30-second preview opens with a noisy group of men crowding a dim hallway when an elevator opens its doors. A hush falls over the crowd as they see the well-dressed people standing inside — BTS, presumably, although viewers never see anyone’s face aside from RM.

The camera then locks in on the leader, rocking a slick ’70s hairstyle and aviators as he stares intimidatingly at the outsiders.

“Kim Namjoon is on next level … Totally mafia’s vibe,” one ARMY wrote in the comments on YouTube, while another person wrote, “RM is looking like a typical Villain from K drama.”

“2.0” is one of 14 tracks — and presumably the next single — from BTS’ new album, ARIRANG. The teaser comes just one day after lead single “SWIM” debuted at No. 1 on the Billboard Hot 100, while the album topped the Billboard 200 after earning 641,000 equivalent album units in its first week, according to Luminate.

Also on Tuesday, BTS shared a live performance video for “SWIM,” aptly singing the track at an indoor pool while still wearing tailored suits, which have become an aesthetic staple in the ARIRANG album era. In April, the Bangtan Boys will embark on a global stadium tour in support of the LP, which comes six years after they last dropped a full-length (2020’s Be, which also topped the U.S. albums chart).

Check out the teaser for “2.0” below.

“Obviously, as a St. Paul person, I wish it was ‘The Streets of the Twin Cities,’” says Marta Shore of Bruce Springsteen’s “Streets of Minneapolis” with a sly smile. The St. Paul, Minnesota, resident is mostly joking; she has no beef with the Boss, but does point out that President Donald Trump’s ICE surge in Minnesota has affected residents of the wider Twin Cities metro area.

The college biostatistics lecturer was, however, impressed with Springsteen for releasing a “very real” protest song just four days after the killing of Alex Pretti, a 37-year-old intensive care nurse for veterans who was shot and killed by ICE agents in Minneapolis on Jan. 24. That incident came less than three weeks after an ICE agent shot and killed 37-year-old mother Renée Good in Minneapolis. The federal government and the Trump administration raced to portray both slain U.S. citizens as domestic terrorists, despite video footage and eyewitness accounts telling a different story.

“(His song) was so timely. It wasn’t, ‘Let me stick my finger up and see which way the wind is blowing, and then run it through my publicist,’” muses Shore, whose son lives six blocks from where Pretti was killed and has been active in her community’s mutual aid efforts to assist families impacted by ICE (she also keeps a whistle in her purse and car to let locals know if ICE agents are nearby). “It was a powerful thing. It was, ‘I’m acknowledging you are in pain, and there is a villain here. There are people doing harm.’”

“It paints a picture of exactly what we saw,” says Marta Simpson, a Minneapolis resident active in mutual aid efforts for affected families, of the folk-rock song. “He talks about the streets by name: Nicollet Avenue, that’s just a few blocks over,” notes the kindergarten teacher, who has participated in a few protests and whistle-toting patrol shifts. “It felt like such a deeply personal thing to us as Minnesotans.”

Neither Shore nor Simpson consider themselves huge Springsteen fans, but both teachers are headed to Minneapolis’ Target Center on Tuesday (March 31) evening to see the rocker for the first time as he kicks off his Land of Hopes and Dreams American Tour. Shore is accompanying a “diehard” friend (“she vacationed in Asbury Park”) while Simpson and her sister — who was also active in anti-ICE mobilization — are attending thanks to a “rage buy” from their father. He lives in Colorado but purchased tickets to the Minneapolis tour kickoff to support Springsteen after Trump attacked the outspoken New Jersey rocker. “My dad loved that Bruce wrote that song.”

Springsteen gave “Streets of Minneapolis” its live debut at famed local venue First Avenue (where much of Prince’s 1984 film Purple Rain was shot) during Tom Morello’s Jan. 30 fundraiser for the families of Good and Pretti. At the flagship No Kings Rally on Saturday (March 28) in St. Paul, Springsteen performed “Streets of Minneapolis” for just the third time ever on the lawn of the Minnesota State Capitol. The Rock & Roll Hall of Famer wasn’t the only one playing his protest song at the 100,000-person strong rally, however: Thirteen-year-old Zeke Scott was strumming it on his acoustic guitar in the lead-up to the main event, which also featured Joan Baez, Maggie Rogers, Tom Morello, Sen. Bernie Sanders and Jane Fonda.

“When I heard the song, it brought up some feelings,” says the young musician, who learned to play it in one day. “A lot of the songs I listen to that are more protest-y don’t go specific. Bruce Springsteen went very specific with what happened. Me and my mom were really into it.”

“It’s no longer an issue of what the old people think or what the young people think,” says Campbell Casper, who traveled two hours from his college in Winona, Minnesota, to attend the No Kings Rally in St. Paul. “It’s one mission. It’s nice to have an older person feeling like they’re giving us the torch,” he says of the 76-year-old artist’s “Streets of Minneapolis.” “This isn’t the problem of yesteryear; we’re going to have to keep fighting.” Casper, who thinks what Trump is doing to the country is “royally f—ked up,” adds it’s “awesome” to see an artist like Springsteen, “who makes such good music,” speaking out.

“Everybody knows Bruce Springsteen,” says St. Paul resident Breanna Vandellen of the 20-time Grammy winner. “Having people with a huge platform like that speak out about these things can really help. It can feel isolating sometimes holding these views.”

Nearly everyone interviewed for this story was quick to point out that while they appreciate celebrities drawing attention to the ICE surge in Minnesota — which, aside from the killings, has terrorized local families and seen U.S. citizens dragged out of their cars, detained and beaten seemingly without provocation — it is the local protests and grassroots mobilization efforts that give them the most hope and sense of camaraderie.

Shore felt the Jan. 23 Day of Truth & Freedom protests in Minnesota — which included an economic blackout and tens of thousands of marchers despite the subzero Fahrenheit temperature — was especially “invigorating and motivating” at a time when she was in “despair” for her community. “It’s 50,000 of us. The high is negative nine, and not only are people showing up, but they’re showing up with hot chocolate, they’re showing up with hand warmers,” she recalls. “They’re showing up as community.” On the train ride home, Shore says people were “greeting each other (with) ‘F—k ICE’” in a way that reminded her of congregants saying “peace be with you” at a Catholic church service.

“It is nice to have Bruce Springsteen’s attention and the other big names, because it highlights the ongoing need, and brings more money in,” Simpson says. “Families are struggling to make payments because they have been home and not working, had hours cut, had main family earners detained. Our restaurants are struggling because employees had to stay home.”

The City of Minneapolis experienced an estimated $203 million in economic impact from Trump’s Operation Metro Surge, with small businesses and restaurants losing $81 million. “Minneapolis residents are feeling very used up; we’ve been supporting our community for months,” Simpson adds, pointing to these GoFundMe and GiveButter campaigns, as well as the Stand With Minnesota online directory, in particular. “This attention will hopefully lead to more resources.”

“This is our community,” says Shore, who has been heartened by local resolve in the face of federal opposition. “You don’t get to tell us what to do. You keep hearing for the past 20 years, ‘No one’s coming to save us, we have to save ourselves.’ It’s happening here, which is really the most heartwarming thing.”

Additional reporting by Brian and Jean Lynch.

Fuse Media, a leading minority-owned media company, and Billboard, the number one music authority in the world, announced Tuesday (March 31) the launch of Billboard Español TV, a new streaming network celebrating music and culture in Spanish for U.S. Latino audiences and beyond.

Billboard Español TV  brings the full breadth of Billboard’s unmatched music data, charts and editorial authority to a dedicated FAST destination showcasing Spanish-language programming built around internationally recognized, chart-topping artists and hits. The channel will be available for launch in Q2 2026, delivering programmers broad reach into homes where Spanish-language content and music are priority viewing experiences.

Billboard Español TV spotlights the hottest emerging Latin American talent alongside globally recognized superstars through artist stories, music-culture programming, and exclusive content that reflects the tastes and influence of Latinos in the U.S., one of the fastest-growing and most influential audiences in the country. The channel takes its name from Billboard’s in-language Spanish website, which was launched just four years ago, and today is the most-visited music website in Spanish in the world. Built on that solid foundation of recognition and credibility, the Billboard Español TV FAST channel arrives in the market backed by a brand with established authority and a strong connection with its audience.

According to industry research, 25% of U.S. music listeners ages 13 and older report listening to Spanish-language music, even as Hispanics represent roughly 19% of the total population, underscoring the genre’s mainstream reach across streaming platforms and charts.

That momentum extends to viewing behavior: Nielsen reports that Hispanic audiences spend approximately 55.8% of their total TV time streaming, outpacing the U.S. average and ranking among the most engaged streaming audiences in the market.

These trends are increasingly reflected in the broader cultural mainstream. At the 2026 Grammys, Bad Bunny’s Debí Tirar Más Fotos became the first Spanish-language album to win album of the year, while his Super Bowl headlining performance further underscored Spanish-language music’s durable appeal across audiences well beyond Spanish-dominant listeners.

“Billboard Español TV  is more than a channel; it’s a reflection of how Latin music and Latino culture are woven into the fabric of American mainstream culture,” said Patrick Courtney, chief business officer, Fuse Media. “From pop, to regional Mexican, to urbano and legendary acts, this channel connects audiences to the stories behind the songs they care about, while giving advertisers access to passionate, culturally engaged fans at scale.”

Billboard Español TV will showcase programming driven by Billboard’s industry-leading charts and editorial expertise, including:

“Giving Spanish-speaking music fans access to the artists they love in environments that feel native and meaningful is at the heart of what Billboard Español TV represents,” said Dana Droppo, chief brand officer, Billboard. “Partnering with Fuse Media enables us to bring Billboard’s authority in the music world, our trusted insights and storytelling into a FAST platform built for discovery, engagement, and cultural resonance.”

Billboard Español TV complements Fuse Media’s growing FAST portfolio by offering advertisers a premium environment with clearly defined audience segments and cultural relevance. The channel reinforces the power of Spanish-language music and culture within the broader entertainment ecosystem while providing measurable engagement and scale.

Patchbay — a new agentic operating platform for artist managers, labels, publishers and legal teams — announced its public launch on Tuesday (March 31). While in private beta, Patchbay onboarded a number of top artist teams to the platform, claiming to work with “over a third of the 2025 Billboard Year-End Hot 100,” according to a press release.

Patchbay’s goal is to streamline operations for artists’ teams and put it all in one place on a convenient dashboard. As it stands today, many music teams work across a slew of various email chains and text message groups, often juggling multiple deals, split sheets and invoices at once. “Behind every song is a complex operational chain of contracts, signatures, split sheets, registrations and payments, where one missed step can delay revenue across the entire system,” a press release states about Patchbay.

To date, Patchbay has raised an undisclosed amount of investment from strategic partners like 1916 Enterprises, Dundee Partners, PS Business Management, Mega House, KMGMT, Double Down 11, Ozone Management, Socransky Law, and Stent Music Group, along with executives including Andy Tavel, Mark Weiss, Jarred Arfa, Luke Heffernan and AJ Vaynerchuk.

Unlike other operating systems, which are generically designed to fit all industries, Patchbay was designed by CEO/co-founder Aidan Schecter, who has spent his career so far looking after musical talent as a manager. Inspired to remedy the inefficiencies he’s seen firsthand, Schecter teamed up with Jonathan Gordon, CEO/founder of 1916 Enterprises, to co-found and incubate Patchbay. Schecter also serves as 1916’s COO and partner, and together Schecter and Gordon actively invest in entertainment technology companies, including Vydia (acquired by Gamma), HiFi (acquired by Block), Audioshake, Big Effect, Offtop and Chordal.

Patchbay’s rise coincides with a larger push towards using AI technology not to make music, but to eliminate the drudgery and tedium of the business behind the music. Other companies pursuing this path include CreateSafe, which is described by its founder, Daouda Leonard, as “a multi-modal generative AI operating system to automate the creation, management, distribution and marketing of music IP.” There are also a few players aiming to ease inefficiencies in contracts specifically, like Clearnote and Tone’s Contract Analyzer and Contract Check tools.

Schecter tells Billboard that “to me, the best version of the future is one where music teams get to build careers, AI agents do the admin.”

“The music business is full of creative people spending far too much time on admin work,” he adds. “Having spent thousands of hours talking to top teams around the world, we’ve seen that everyone needs the same set of capabilities: a platform purpose-built for the recorded music business. Not more spreadsheets.”

Patchbay is currently invite-only. Teams can request access at patchbay.xyz.