The U.S. Army has launched an investigation after two AH-64 Apache attack helicopters conducted low-altitude maneuvers near the Nashville home of Kid Rock on Saturday — the same day as nationwide No Kings protests against the Trump administration.

The singer, a prominent Trump supporter, shared footage to his X account on Saturday (March 28) showing the two helicopters hovering close to his 27,000-square-foot Nashville-area estate, which he refers to as the “Southern White House.”

In one video, one of the Apaches appeared to rotate into what looked like an attack position facing the entertainer as he stood poolside saluting.

“This is a level of respect that s— for brains Governor of California will never know,” he wrote, taking aim at Democratic Governor Gavin Newsom. “God Bless America and all those who have made the ultimate sacrifice to defend her.”

This is a level of respect that shit for brains Governor of California will never know. God Bless America and all those who have made the ultimate sacrifice to defend her. 🇺🇸 🙏 pic.twitter.com/iD5mmkaXv1

— KidRock (@KidRock) March 28, 2026

The Army’s 101st Airborne Division confirmed Monday it was reviewing the incident. “Army aviators must adhere to strict safety standards, professionalism and established flight regulations,” said Maj. Jonathon Bless, public affairs officer for the 101st Airborne Division, in a statement.

“An administrative review is underway to assess the mission and verify compliance with regulations and airspace requirements. Appropriate action will be taken if any violations are found.”

The Army said the helicopters had been on a training route in the Nashville area, and maintained that any connection to the No Kings rally happening in Nashville that day was “entirely coincidental.”

But 101st Airborne leaders acknowledged to local outlet NewsChannel5 Investigates that they were still unclear whether the overflight at Kid Rock’s property was incidental or deliberate. “Our pilots do regularly fly routes outside the Fort Campbell area,” Bless said. “We just don’t know if it was incidental or if it was deliberate.”

The timing of the flyby drew immediate scrutiny. The videos were posted on the same day that millions of Americans participated in nationwide No Kings demonstrations against the Trump administration — the third such round of protests — including a rally in downtown Nashville. The optics of military aircraft conducting low-altitude maneuvers at the home of a well-known Trump ally on the day of those protests drew widespread attention online.

Kid Rock has maintained a close relationship with Trump throughout his political career. Last year he appeared alongside the president at the White House when Trump signed an executive order targeting ticket scalping in the live entertainment industry.

Newsom’s X account had previously mocked Kid Rock in February after a video surfaced of the singer working out shirtless with Health and Human Services Secretary Robert F. Kennedy Jr.

ARMY aren’t the only ones celebrating BTS topping multiple Billboard charts with their newest album.

RM took to Instagram Stories on Monday (March 30) to thank fans for helping the K-pop group reach No. 1 on both the Billboard Hot 100 and Billboard 200 charts.

“Sendin my luv and gratitude” the rapper wrote over a repost of a Billboard Instagram post sharing the news that “SWIM,” the lead single from BTS’ new album ARIRANG, debuted at No. 1 on the Hot 100. In a second, captionless Instagram story, RM also shared Billboard‘s post on ARIRANG topping the Billboard 200.

“SWIM” is BTS’ seventh Hot 100 chart topper, and their first since 2021 — the year before they announced a hiatus. Seven must be BTS’ lucky number right now: ARIRANG is also the seven-piece’s seventh No. 1 on the Billboard 200.

Released on March 20, ARIRANG is BTS’ comeback album after a four-year hiatus. The album debuted with 641,000 equivalent album units earned, marking the largest week for an album by a group since the chart began measuring by units in December 2014. 532,000 of these units were in pure sales, giving BTS the biggest sales week for an album by a group in more than a decade.⁠

With these new chart-toppers, BTS continues its lead as the group with the most No. 1s since it made the achievement in October 2020. The K-pop act also has the most No. 1 among groups since the Bee Gees topped the charts nine times between 1971 and 79. BTS is the group with the fourth most No. 1s in total, following behind the Beatles with 20, the Supremes (12) and the Bee Gees.

Along with their new No. 1, BTS also currently claims the top nine spots on the Global 200 — tying the group with Taylor Swift for both the most top 10s in a single week. With ARIRANG, BTS has also become the first act to take over all of the top 10 spots on the Global Excl. U.S. chart.

Cardi B has won a court order throwing out a lawsuit that claimed her hit 2024 single “Enough (Miami)” copied an earlier track called “Greasy Frybread.”

A Texas federal judge ruled on Monday (March 30) that there are fatal deficiencies in the litigation brought two years ago by Joshua Fraustro and Miguel Aguilar, who produced “Greasy Frybread” for rapper Sten Joddi. The duo alleges Cardi (Belcalis Almanzar) lifted the song’s melody and bassline for “Enough (Miami),” which hit No. 9 on the Billboard Hot 100 and remained on the chart for 14 weeks.

As is typical in these sorts of song-theft cases, Fraustro and Aguilar initially sued Cardi for federal copyright infringement. But they dropped those allegations after Cardi’s lawyers pointed out that “Greasy Frybread” was not actually registered with the U.S. Copyright Office; they later retooled the lawsuit with a series of related claims under Texas state law.

U.S. District Judge Fernando Rodriguez Jr. said Monday that these state-law claims fail because Cardi does not have any significant ties to Texas. Fraustro and Aguilar argued that she did business in the state via live shows there, but the judge was not swayed.

“Plaintiffs do not demonstrate that Almanzar targeted Texas for concert performances, rather than simply including Texas venues within a broader concert tour in numerous states,” wrote Judge Rodriguez. “Almanzar’s performances in Texas are not distinct from her performances in those other states, rendering the concerts in Texas insufficient to establish general jurisdiction.”

Judge Rodriguez said he would have tossed the lawsuit even without these jurisdictional issues. He ruled that each part of Fraustro and Aguilar’s lawsuit was missing key pleading elements — writing, for example, that their claim for business interference contained “no factual support.”

Fraustro and Aguilar had also brought claims for third-party copyright infringement against Cardi’s label, Atlantic Records, and its parent company, Warner Music Group (WMG). The judge disposed of these as well on Monday, saying the duo’s failure to register a copyright “renders the claims defective.”

Cardi’s lawyer declined to comment on the decision on Monday. Fraustro and Aguilar’s attorney did not immediately return a request for comment, nor did a rep for WMG.

“Enough (Miami)” was recently re-released on a deluxe version of Cardi’s sophomore album, Am I the Drama?, which debuted at No. 1 on the Billboard 200 in October. The song is on the setlist for her ongoing Little Miss Drama arena tour.

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If you aren’t familiar, on-ear headphones are styles that feature earcups that rest directly on the ear cartilage, rather than over them like over-the-ear headphones or inside the ear canal like in-ear earbuds.

This design is rather niche, as opposed to the other styles mentioned, and are best utilized for commuting, travel and extended use. On-ear headphones offer good audio performance and are meant to ensure an overall more comfortable fit than the other models, though everyone’s ears are different. As you’ll see throughout my review, on-ear headphones are also very portable and provide great call clarity, especially when tested against their in-ear and over-ear counterparts. In short, the style is meant to cater to those looking for specific functions rather than being “better” than other models.

ShopBillboard’s Favorite On-Ear Headphones at a Glance:

One major thing to note is that a bunch of on-ear styles lack ANC, or Active Noise Canceling. This is because these headphones sit on top of the ear, as the name suggests, making for poor passive isolation. This makes effective ANC difficult, because ANC benefits from a consistent seal on the ear to block out noise. For this reason, you’ll only see two models on this list with ANC. These specific models have good ANC but aren’t made specifically for noise-canceling functionality.

Here’s what I looked for while on my search for my top five picks. I wanted something lightweight, comfortable and portable ( i.e. foldable or equipped with a carrying case). I wanted something with a balance between good sound quality and environmental awareness. As far as my qualifications go, I love music and great audio, and I have always favored headphones rather than earbuds for comfort and quality sake.

With this in mind, I tested these five headphones out as a commuter in New York, an on-ear model’s natural habitat of sorts, so that I could give our readers the most honest review possible. Through rain and some unseasonal snow flurries, I present to you my favorite on-ear styles that made my 50-minute commute a little more bearable.

Beats’ Solo 4 was one of the first on-ear styles I tested and I was pleasantly surprised. For starters, the colors available are extremely stylish, varying from light Cloud Pink hues (my favorite) to complex Slate Blues. I wore these while working and walking around the office and can confidently say these fit snugly and won’t budge.

Of course, you can adjust the fit of your Solo 4 based on the shape of your head and desired tightness. I never felt like they’d slip or falter, even when I was running to catch my train post-work day. That said, the snugness could be a con for some. That’s one of the beauties of on-ear styles. They sit on the user’s ear rather than around it, creating a seal of sorts so there’s less of a chance that your headphones will flatter or slip.

Since the Solo 4 is an on-ear style, more ambient sound was let in, which was great for my commute so I could be more aware of my surroundings in the city. Speaking of, the audio was clear and crisp, especially for calls that I took a lot during my testing period. Again, because the Solo 4 is on-ear, you don’t have Active Noise Cancelling or ANC, so if that’s something you’re looking for in headphones, on-ear models might not be for you.

As far as specs go, I loved the Announce Notifications aspect that reads out notifications, which allowed me to focus on what was around me instead of checking in on who was texting me. Some major wins for the Solo 4 are the battery life of 50 hours and the compact foldable design that fit snugly in the accompanying case for portability.

As far as on-ear models go, Marshall’s Major V is the most stylish of the bunch. As a lover of fashionable tech, this scratched an itch for me with the vintage-inspired design and gold accents. I chose brown, going out of my comfort zone for a headphone colorway I wouldn’t normally choose. I was pleasantly surprised by how much I loved the tone; this espresso brown with contrasting Marshall logo detailing. It’s a sophisticated piece of tech with uncomplicated functionality.

You’ve got an M button on the side that allows users to instantly access Spotify or your default music streaming service, access to your EQ settings (volume, frequency ranges etc) and a voice assistant. I used this feature often if I didn’t want to scroll through my phone to manually play another song or change up the volume. The 100+ hours of playtime isn’t too shabby, especially when compared to the other on-ear models on our list. The Major V was also extremely comfortable, even after hours of wear. This is thanks to the amply padded ear cups that gently sat on my ears rather than smothering them.

As mentioned with the Solo 4, the Major V has no ANC, which is common for lots of on-ear styles, so no biggie there. It also has no rating for water-resistance/ they haven’t been officially rated, meaning these won’t fare well if you’re sweating profusely during a workout or if you’re caught out in heavy rain. That being said, we’re testing these for everyday usage and they hold up perfectly fine.

Headphones have become extremely expensive over the years, which is why I wanted to include these JLab Go Lux headphones. Retailing for $34.99, this on-ear style gave me everything I needed both audio and comfort-wise, which is exactly what I wanted out of my on-ear testing. On-ear headphones are supposed to offer good sound quality, which this JLab style has, and provide environmental awareness which these also have.

The connectivity via Bluetooth was flawless, pairing right back up even when I was separated from my phone for an extended time. It was easy to navigate all the special features this JLab model has to offer thanks to an easy to read button with symbols that clearly stated their function. These headphones are very comfortable, especially the headphone cushions which are neatly labeled “right” and “left” for ease of use. The headband could be a tad tight at times but with a little adjusting, I felt almost nothing on my head.

A lot of these headphones come with a carrying case, which I liked to keep in my bag for aesthetics and organization sake. This JLab style did not unfortunately, which is something I’d love to see JLab incorporate for this on-ear model in the future. I will give the lack of carrying case a pass however, because of their affordability.

Right out of the box, I can say with confidence that the JBL Live 680NC are headphones I will reach for again, even after testing. This on-ear model is extremely comfortable thanks to the extra cushy padding throughout, especially on the headphone cushions, which perch nicely on my ears even when I am wearing earrings. The fit is adjustable, like most, if not all, headphones, giving you that tailored feel. These are on the heavier side compared to the others on this list, although that didn’t bother me.

Feel aside, these headphones have ANC and Awareness/Spatial Audio modes, which, as previously mentioned, are not always available for on-ear styles. The ANC is pretty powerful, drowning out the sirens and car horns that seem to be a constant in the backdrop of my already noisy office. With the tap of a button, I was able to switch off ANC, allowing noise in, a dull murmur that allowed me to talk, listen to my coworkers and converse without issue. I tend to listen to

I will note that I am not used to touch-sensitive controls on my headphones, as I prefer the control I get with buttons. For that reason, it was tricky for me to get a handle on where I should be touching, but that should be no problem for most. It’s a high-tech feature I appreciate aesthetically, but when it comes down to preference, I am a button girl all the way.

Speaking of buttons, the Bluetooth connectivity was simple and fast. I also struggled with switching it on since the mechanism is more of a slider. For practicality’s sake, I prefer a button, but once I understood the controls fully, it wasn’t an issue and didn’t hinder my listening experience whatsoever.

Out of all the on-ear styles I’ve tested, the Skullcandy Icon ANC is the most user-friendly model. Upon opening the box, I was greeted with an easy-to-understand control cardstock. In just three steps, I was using these headphones without much effort. I wasn’t fumbling around at any point to get this style going. Powering the model on, connecting it via Bluetooth and turning up the sound was fast and easy, which was a major plus given I had to test out four other headphones in succession over the span of a month.

Speaking of sound, these headphones can be a bit flat out of the box, making audio a little dull. That being said, I was able to make my own sound customization via the tech’s EQ settings and found that with my changes, the bass was nice and punchy and the sound was more colorful and balanced. In short, I encourage users to play around with their settings to get the audio they crave from this style.

Something that seemed mundane upon opening, but really changed the game throughout my usage of this style was the buttons. I specifically loved being able to easily call up my Siri or change the volume up with a joystick-esque control that felt natural and fun to use, rather than a standard click of a button. Plus, these buttons have audio cues that are extremely satisfying to hear accompanying each touch.

This is yet another on-ear model with ANC and stay aware mode. As mentioned, both of these modes, but specifically ANC, aren’t the main focus of on-ear styles. That being said, the ANC is pretty great, quieting my bustling office with the tap of a button. Even with sirens blaring and the noise of the city, things were nice and quiet with my headphones on. As mentioned, I’d point to this style for those looking for user-friendly models that are easy to use and also happen to be really affordable at $99.99.

Taylor Swift is facing a trademark infringement lawsuit that claims her record-smashing latest album, The Life of a Showgirl, has eclipsed an existing brand called “Confessions of a Showgirl.”

The complaint, filed on Monday (March 30) and obtained by Billboard, is brought by Las Vegas-based performer Maren Wade. Since 2015, Wade has had a trademark on the name “Confessions of a Showgirl” for a touring cabaret show about the humorous escapades of a modern-day entertainer.

Wade alleges her intellectual property has been trampled by similar phrasing in The Life of a Showgirl, Swift’s mega-successful 12th studio album that spent 12 weeks atop the Billboard 200 and sold a record 4 million units in its first week this past October. Swift had tried to trademark the album’s title, but her efforts were rejected by the U.S. Patent and Trademark Office due to a “likelihood of confusion” with Wade’s brand.

According to Wade, customers have indeed been confused as to whether there’s a connection between The Life of a Showgirl and “Confessions of a Showgirl.” But she says this hasn’t caused any market harm to Swift, given the superstar’s “substantially greater commercial scale.” Wade alleges she’s been the sole victim of the similarity, and the new Swift era “threatened to swallow” her much smaller business.

“As a solo performer operating in the same entertainment space, she found herself having to navigate the wave of consumer attention defendants’ program had generated and attempting to maintain her presence in a conversation and a marketplace that defendants had overtaken,” reads Wade’s lawsuit.

Wade is now bringing claims for trademark infringement and unfair competition against Swift, her company TAS Rights Management, Universal Music Group (UMG) and the major label’s merch subsidiary Bravado. The lawsuit seeks unspecified financial damages and an injunction stopping Swift from selling The Life of a Showgirl consumer products, including apparel, drinkware, candles and hairbrushes.

Notably, Wade’s trademark claims focus solely on merch sales related to Swift’s album, not the underlying music itself. The complaint says, “Plaintiff, as a performer herself, respects Taylor Swift’s right to creative expression, and nothing in this action challenges it.”

Swift’s reps did not immediately return a request for comment on the lawsuit on Monday. A UMG spokesperson declined to comment.