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BTS’ Jimin Will Be In Solo Spotlight in ‘The Truth Untold’ Exhibition in Los Angeles

BTS member Jimin will be in the solo spotlight in an upcoming exhibit in Los Angeles titled “The Truth Untold.” The immersive experience promises to give ARMY a unique look into the creative process behind Jimin’s solo albums, 2023’s FACE and this year’s MUSE, with a peek into his personal diaries, lyric notebooks and other behind-the-scenes materials, according to a release announcing the exhibition that will set up at the Ace Missions Studios in L.A. from Nov. 29 through Dec. 15.

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Tickets for the event organized by HYBE INSIGHT and Live Nation will go on sale on Nov. 12 at 12 p.m. local, with fans encouraged to sign up for a waitlist presale here now; prices start at $29.99. The exhibition’s hours will run from 11 a.m. to 8 p.m. on Wednesday-Friday and 10 a.m. to 8 p.m. on Saturday and Sunday, with organizers saying it will take approximately 60-90 minutes to explore.

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“The space is thoughtfully designed to immerse attendees in the emotions Jimin experienced during the creation of his solo albums,” reads the release. “The space is divided into two main sections: FACE and MUSE. The FACE section, inspired by water ripples, features a media wall and distorted mirrors symbolizing the waves of confusion that Jimin experienced on his journey to self-discovery. As visitors move to the MUSE section, the waves calm, representing Jimin’s success in embracing his true self.”

The assembled set pieces will recreate the vibe from Jimin’s videos for “Like Crazy” and “Set Me Free Pt. 2,” and include a photo zone inspired by the tracks “Who” and “Smeraldo Garden Marching Band,” which both appear on Jimin’s sophomore solo LP, MUSE. The release also promises to display, for the first time, handwritten letters expressing Jimin’s “deepest, unspoken feelings,” as well as costumes and props from music videos and performances and solo trophies and awards.

BTS went on hiatus in 2022 to allow all seven members to complete their mandatory South Korean military service, with announced plans for the septet to reunite in 2025.

Why Is There So Much Fraud In Music Distribution — And How Do We Solve It? (Guest Column)

The rise of DIY music distribution platforms like TuneCore and DistroKid has been unequivocally transformative for artists — it has given them the ability to reach listeners without traditional label constraints.

Yet, while democratization has opened doors for countless artists, it’s also opened the floodgates to an equally pernicious, unintended byproduct — rampant fraud and copyright infringement. For context, Luminate reported that in 2023, over 120,000 new songs were uploaded daily, a sharp increase from 93,000 per day in 2022. The surge is predominantly due to two things: the ubiquity and growth of the DIY distribution sector and the proliferation of consumer-facing music production resources. This relatively nascent landscape has dramatically increased not only the volume of content but also the industry’s exposure to unauthorized and infringing material.

Universal Music Group’s recent $500 million lawsuit against TuneCore and its parent company Believe highlights the severity — as well as a tipping point. The lawsuit asserts that these platforms are illegally profiting from large-scale copyright infringement, where the culprit for disseminating and monetizing the unauthorized IP is both distributor and unethical user alike. Ultimately, this case highlights a broader, systemic failure, exacerbated by insufficient monitoring, accountability and safeguards for control. But the ecosystem has become too big, too unregulated and too profitable for some of its stakeholders to rectify it on their own. Reform is overdue.

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Democratized Distribution

DIY distribution was originally designed to level the playing field, allowing any artist to release music on platforms like Spotify, Apple Music and YouTube. However, open access came with side-effects — most notably, rampant IP abuse. The sector has become a breeding ground for exploitation; malicious users take advantage of the low barrier to entry by uploading pirated, remixed, or slightly modified versions of copyrighted songs. Collectively, these uploads generate significant revenue, with a portion of that going to the distributors who host them.

This is far from an isolated issue. With millions of tracks uploaded annually, there is an immense challenge in verifying every song. While some platforms claim to have anti-fraud systems in place, policing measures frequently fall short. The sheer volume of uploads makes scalable monitoring difficult, in turn creating a laissez-faire approach that indirectly allows infringement to thrive. 

YouTube Royalty Collections Unique Challenge

Nowhere is this problem more pervasive than YouTube, where scale and visibility is inherently even more challenging. Some users deliberately circumvent YouTube copyright policies by uploading and distributing pitched remixes, slowed down/sped up remixes or near-identical versions specifically in order to bypass Content ID. Detection is challenging, and most of this infringement goes unnoticed. Even when violations are flagged, recouping misappropriated payments is impossible. Artists are left to navigate an opaque, complicated system and often leave their rights exposed and earnings minimized. For many independent artists, YouTube is a key, significant revenue stream and copyright fraud siphons away that income with little recourse. 

Industry-Wide Consequences

Overvaluing volume vs. quality control creates a system ripe for exploitation because the current model often benefits the infringer. But solving the core issue mandates more than increasing lawsuits. There needs to be enforceable quality-control metrics that are clearly communicated and that actively deter fraud, while protecting rights holders. Transparent protocols to ensure flagged content will not generate income for infringers along with improved early detection systems will help standardize accountability and visibility. An enforceable and sustainable safeguard system will:

A. Prevent infringing content from reaching listeners at all
B. Mandate greater transparency when infringement occurs, and
C. Ensure rightful compensation for rights holders.

Closing the knowledge gap and developing industry-wide standards are also essential for meaningful change. By raising public awareness, providing a forum where artists and rights holders can report infringement and increasing pressure within the industry, the path to reform is achievable — and similar to regulations that have been implemented to curb other forms of online piracy.

A Call for Collective Responsibility

Setting clear deadlines for reform will hold platforms and distributors accountable while improving transparency. Fundamentally, and despite the challenges of volume, even en-masse DIY distributors must showcase a basic respect for IP and prioritize rights holders/artists while identifying (and deterring) the bad actors who undermine them. 

With collective, industry-wide efforts, digital music distribution can become a sustainable model that supports independent artists while upholding their rights. A system that empowers artists while maintaining integrity is essential to preserving the value of music and protecting it from exploitation.

George Karalexis is co-founder/CEO of Ten2 Media. His expertise as a media executive, strategic advisor, and serial entrepreneur spans 15-plus years across multi-sector leadership, with a focus on music, marketing strategy and tactical team building. Donna Budica is co-founder/COO of Ten2 Media. With a degree in finance from The Wharton School and an MBA from USC Marshall, she leads corporate strategy and operations at Ten2 and its subsidiaries.

Ten2 Media is a rights management and content marketing company specializing in asset monetization, audience development and content optimization on YouTube. Ten2’s expertise on YouTube and decades of experience in the music Industry is the foundation of its unique approach to maximizing revenue and marketing music for the world’s leading artists and labels.

Tyrese Plants ‘Wildflower’ at No. 1 on Adult R&B Airplay Chart

Tyrese ends a nine-year absence from the No. 1 spot on Billboard’s Adult R&B Airplay chart as “Wildflower” rules the list dated Nov. 9. The single rises from the runner-up slot and becomes the most played song on U.S. monitored adult R&B radio stations in the tracking week of Oct. 25 – 31, according to Luminate. “Wildflower “jumped 17% in plays during the tracking week, winning the song the weekly Greatest Gainer award as the title with the largest increase in plays.

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“Wildflower,” released on Voltron Recordz/Create, takes the throne from Chris Brown’s “Sensational,” featuring Davido and Lojay, which spent an eighth, nonconsecutive week at No. 1 last week.

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The new champ gives Tyrese his fourth No. 1 on Adult R&B Airplay. He first reigned in 2003 with the four-week leader “How You Gonna Act Like That” and followed with “Stay,” an 11-week No. 1 in 2011-12 and with the 16-week domination of “Shame,” in 2015-16.



Released in August, “Wildflower” is a reworking of a 1973 track by The New Birth, with Tyrese adding an interlude in tribute to his mother, who died in 2022. The New Birth’s original rendition peaked at No. 17 on the Hot R&B/Hip-Hop Songs chart and at No. 45 on the Billboard Hot 100.

Elsewhere, “Wildflower” pushes 16-14 on the R&B/Hip-Hop Airplay chart, which ranks songs by combined audience totals from adult R&B and mainstream R&B/hip-hop stations. The single surged 18% in format audience to reach 6.5 million audience impressions for the tracking week. Thanks to the two-spot jump, “Wildflower” is Tyrese’s best showing on the chart since “Shame” peaked at No. 13 in 2015.

The radio gains for “Wildflower,” in turn, improve the song’s fortunes on the multimetric Hot R&B Songs chart, which combines radio airplay with streaming and sales data for its rankings. There, “Wildflower” debuts at No. 22 and secures Tyrese’s second appearance on the 12-year-old chart, after “Shame” (No. 10).

The Consensus On The PS5 Pro Is: A Significant Performance Boost, But No Need To Rush & Buy… Yet

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The PS5 Pro has finally arrived, so the question on your mind is, should I swipe the card and get one? Before you make that decision, see what some folks who had the opportunity to give it a spin had to say before you hit the purchase button.

The base PS5 model still has plenty of life, but that’s not stopping Sony from launching a mid-generation console refresh with the PS5 Pro.

When word of the console first hit, the immediate question was, do we need this $700 machine? Who is this for? We all know it’s definitely for a niche group of gamers who prioritize performance and graphics and want the best of both worlds without building an expensive gaming rig.

Based on the specs, the PS5 Pro is an impressive piece of hardware. Under the hood is an AMD Ryzen Zen 2 8-core/16-thread processor with an RDNA-based graphics engine, producing 16.7TF of GPU compute performance compared to the base PS5’s 10.23TF.

There is also 16GB of GDDR6 memory and 2GB of slower DDR5 memory that handles other console tasks not related to gaming, plus a 2TB custom SSD.

Ahead of the console launch, PlayStation confirmed there will be 55 games with PS5 Pro Enhancements, so it’s not entering the chat without titles to show off its power.

So, with all that said, what are the critics saying about the PS5 Pro? Reviews, for the most part, seem mixed, with many saying it’s too early to tell if this console is a flop.

2025 Will Be The Real Test For The PS5 Pro

In his review for Polygon, Cameron Faulkner touched on his experience with the PS5 Pro’s enhanced titles, writing, “I didn’t try each of the 50 games that have gotten a PS5 Pro patch. But what I did try delivered a mixed bag of improvements that I’m not sure I’d be totally happy with if I spent $699.99 on launch day.”

He continued, “That said, there will be many games in 2025 that put the PS5 Pro’s more powerful specs to the test.”

It’s Impressive, But The Price Point Is Eyewatering

IGN gave the PS5 Pro a 7 (Good), and in his review, Michael Higham wrote, “The PlayStation 5 Pro is an impressive console with noticeable boosts in performance and graphics for games that take advantage of its powerful hardware. But for $700, you’ll need to think twice about whether or not the upgrade is worth the price tag.”

Powerful, But Not Essential

Rory Mellon for Tom’s Guide wrote, “The PS5 Pro is set to be where I play the vast majority of new releases for the rest of this console generation thanks to its unrivaled play experience. If you’re also the type of player who wants the best visuals and performance regardless of the cost, then I’d have no qualms about recommending the PS5 Pro. But more budget-conscious console players shouldn’t feel despondent about being stuck with a technically inferior machine. The PS5 Pro is a powerful upgrade to an already excellent console, but it’s not an essential buy at this price.”

The PS5 Pro Is A Niche Product For Now

Tim Gettys from Kinda Funny said about his experience with the PS5 Pro, “The PS5 Pro is the perfect example of a console that fits right at home with an LG OLED, and a home theater receiver, and all of the things on the box. If you care about those things this is for you. $700 is a lot, but it’s not a lot compared to other things in that realm.”

Gettys continued, “I think it’s a niche product for now, but I think it will become a mainstream product very soon.”

So, the consensus is that if you have a base PS5, you are good and don’t need to rush to get a PS5 Pro. While it is a significant boost in performance, waiting until games fully take advantage of the new hardware is a safe bet.

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The Warning on Breakthrough Year Crowned with Latin Grammy Nomination: ‘Sometimes We Don’t Believe It!’

With its first Latin Grammy nomination, the Mexican rock trio The Warning crowns 2024 as a great year after several proven achievements. The group’s latest album, Keep Me Fed, consolidated the Villarreal Vélez sisters on the international scene; in addition, it managed to debut on multiple Billboard charts, and embarked on an ambitious tour through Europe and the U.S.

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Furthermore, Paulina Villarreal received the Drumeo Award for the best rock drummer, at only 22 years old.

“These achievements are the reaffirmation that as a Mexican I can also make a rock band and I can take it internationally,” Paulina says excitedly to Billboard Español. “It doesn’t have to stay only in my country, only in my community; I can explore new facets, meet new people, and I can have an international career. And for us to have achieved this, sometimes we don’t believe it!

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Their first Latin Grammy nomination, in the category of best rock song for the single “Qué Más Quieres”, represents a significant achievement in the history of the group –- also made up of vocalist and guitarist Daniela Villarreal and bassist Alejandra Villarreal — as it symbolizes the pride of singing in Spanish, their native language.

The Warning’s repertoire is mostly in English, their second language, since the band is originally from Monterrey, a city bordering the U.S.

“Singing in Spanish has always been fundamental to our musical and personal identity, and this nomination celebrates our dedication to keeping that connection with our roots alive,” Daniela says.

“Qué Más Quieres” was co-written by Anton Curtis Delost, Far and Crosses guitarist Shaun López, Kathryn Ostenberg, Mónica Vélez and The Warning. In it, the band captures the strength and energy that characterizes it.

The single is included on Keep Me Fed, The Warning’s fourth full-length album, recorded in Monterrey and released at the end of last June. In the words of the band’s vocalist: “It is the result of our rawest emotions and the most meaningful connections with the people we have met and worked with in recent years.”

With Keep Me Fed, The Warning has established itself on the international rock scene, debuting on a variety of Billboard charts, including No. 1 on Emerging Artists, No. 2 on Top Rock Albums, No. 4 on Top Hard Rock Albums and No. 6 on Top Album Sales. On sharing a rock band as sisters, Daniela says that it has been a pleasant experience, with many funny and enjoyable moments.

“Obviously sometimes we argue, but we work very well together,” she says. “We started music from a very young age, so we grew up with a mentality of taking care of ourselves and knowing how to work together for the goals that we want to achieve for all of us. We are very attentive to taking care of ourselves and our feelings.”

Recently, The Warning performed in October at the 2024 Aftershock Festival in Sacramento, California, where the group shared the bill with icons from the metal scene such as Iron Maiden, Pantera, Slipknot and Mastodon. They also opened shows for Evanescence in Canada.

In Mexico, tickets for their Feb. 6 and 11, 2025 shows at the capital’s Auditorio Nacional sold out in 48 hours. They will also perform on Feb. 13 at the Telmex Auditorium in Guadalajara, and on Feb. 22 in Monterrey, at the Citibanamex Auditorium.

Tyler, the Creator Lands His First Streaming Songs No. 1 With ‘St. Chroma’

Tyler, the Creator earns his first No. 1 on Billboard’s Streaming Songs chart with “St. Chroma,” featuring Daniel Caesar, which debuts atop the Nov. 9-dated ranking.

“St. Chroma,” which was released on Oct. 28, earned 24.3 million official U.S. streams in the tracking week ending Oct. 31, according to Luminate. That means the song was able to reign despite having three fewer days of tracking than the vast majority of its competition.

The rapper’s previous top-performing songs on Streaming Songs, which began in 2013, had been “Earfquake” and “Wusyaname” (the latter featuring YoungBoy Never Broke Again and Ty Dolla $ign), both of which peaked at No. 3 in 2019 and 2021, respectively.

In fact, two songs from Chromakopia, Tyler, the Creator’s new album, top his previous bests. “Noid,” the album’s lone pre-release single (it premiered Oct. 21), appears at No. 2 with 23.2 million streams in its first full frame.

It’s the first time since the Sept. 7-dated Streaming Songs that the same act holds the top two of the chart. Sabrina Carpenter did so with “Taste,” which debuted at No. 1 that week, followed by “Please Please Please” at No. 2.

As for Caesar, “St. Chroma” is the singer’s second No. 1 on Streaming Songs, both coming as a featured act and also as No. 1 debuts; he previously appeared on Justin Bieber’s “Peaches,” alongside Giveon, which ruled for a week in 2021.

In all, Tyler, the Creator boasts 13 songs – including five of the top 10 on the latest Streaming Songs list. Only Chromakopia’s “I Hope You Find Your Way Home” misses the 50-position survey.

“St. Chroma” also becomes his second leader on R&B/Hip-Hop Streaming Songs, following the one-week reign of “Wusyaname.”

Concurrently, as previously reported, “St. Chroma” sports Chromakopia’s top rank on the Billboard Hot 100 – No. 7 – and the album bows atop the Billboard 200.

Kate Micucci Released a Kids’ Album and Found Out She Had Cancer the Same Day — A Year Later, She’s Back With ‘My Hat’

Kate Micucci has a 13-song collection of silly and sentimental songs that you might not have heard yet.

“The day the album came out was the day I got a phone call saying that I most likely had lung cancer,” Micucci tells Billboard Family over Zoom, just a few days shy of the one-year anniversary of that album, 2023’s My Hat. “It was a strange combo of things to happen in one day.”

On separate coasts, we’re having a conversation on Halloween. We realize that we’ve worked out a meeting time around both of our 4-year-olds’ Halloween parades. Mine is Luigi. Hers is Spider-Man by day, Ninja Turtle by night.

A few days ago, Micucci, an artist and actor with a flair for quirky comedy, uploaded a video of herself playing a new song about a lonely pumpkin she saw at an exit off the 101 in Van Nuys.

“It’s so lonely, it’s no fun/ Being a pumpkin on the 101/ I’m the weirdest surprise at the exit in Van Nuys/ I’ve heard of pumpkin patches/ A place where there are many of me/ Instead I’m here with only a tree/ It’s exhausting, with all the exhaustion that spews into my face/ Could I ever get out of it this place?” she sings.

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Writing whimsical songs like this is a regular thing for Micucci, who’s now cancer-free. She had surgery in December 2023 that removed 20% of her right lung, and says she felt like she really recovered by May or so. She’s now “100% healthy”: That’s something to smile about, and it brings a light to our discussion about the curveball thrown at her this time last year.

“I really didn’t get to celebrate the album like I wanted to,” Micucci says of My Hat, which she started writing years ago and completed some time after becoming a parent in 2020. “I kind of immediately went into lots of testing and figuring it out … The album definitely just immediately took a back burner.”

My Hat, available to stream on Spotify and on Apple Music, is carried by Micucci’s bright, playful voice that settles right into the children’s music space, with lyrics that lean on humor and sincerity. It’s for the kids and it’s for their grownups, or anyone who can appreciate the comedy in the everyday.

Recorded live on tape, the album’s backed by musician friends Brendon Urie on drums and Sean Watkins on guitar, and produced by Micucci’s husband, Jake Sinclair — who’s worked with bands including Urie’s Panic! at the Disco and Weezer, receiving Grammy nominations with both in the best rock album category in 2017. Micucci is a Primetime Emmy-nominated musician herself, as one half of comedy-folk duo Garfunkel and Oates (with Riki Lindhome), who were up for outstanding original music and lyrics in 2016 for comedy special Garfunkel and Oates: Trying to Be Special.

Micucci is an interdisciplinary artist: There’s this solo children’s album and there’s her work as Garfunkel and Oates, plus an incredible amount of credits as a film and TV actor — from recurring spots on The Big Bang Theory, Scrubs and Raising Hope to voicing dozens of characters you’ve heard across animated series and features. Personally she thinks it’s wild she was cast to voice Velma in the Scooby Doo franchise, a show she grew up watching and loving. (With glasses on and her hair cut in a bob, she was once called Velma by a group of teens. “I wanted to be like, well, actually…,” she jokes.)

She’s also got a lifelong passion for visual art. In September she gave herself a 30-day challenge to create a painting or drawing daily. That work was recently presented in a sold-out art show, with all proceeds going to GO2 for Lung Cancer.

Kate Micucci art

Kate Micucci poses in front of her art.

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Fortunately, Micucci’s creative pursuits got put on hold only briefly. I ask her if she’d like to reflect on what happened a year ago, to share her story with others.

After receiving some abnormal bloodwork results last year, she says, she went to a doctor to figure out what might be going on, and that doctor had her get a heart scan. “It was the technician at that place that said, ‘You know, your heart is fine, but there’s something on your lung,’” she recalls.

Micucci’s never smoked. Seemingly healthy and in her early 40s, she didn’t have a reason to think it’d be anything serious. She eventually went in for further testing, but she didn’t rush to get it done.

She’d learn that “lung cancer is an interesting one.” As she explains, “Someone like me wouldn’t normally get tested for something like this just because of my age and the fact that I’m a non-smoker. But the truth is more and more young people are getting it.”

“I guess my only big lesson, I’d say, is listen to your body, and listen to your doctors,” says Micucci. It’s an important reminder to hear in November, Lung Cancer Awareness Month. “I should have gone to get that lung test right away.”

Priorities shifted when Micucci first got the call about cancer. The way things happened sound ill-timed, but she’s doing really well and sounds geniunely grateful for how it played out.

“It was not great news to hear that you have cancer. But overall, every step of the way, it just looked very promising, and like I had caught it very early, and I just honestly never felt really too sad about it. I just felt really, really lucky, like I just won a lottery or something,” she says.

Plus, she points out, “It really does put everything in perspective. It makes me go, ‘OK, I get to be here today. What do I want to make? And what do I wanna bring?’ I just wanna make people happy.”

Micucci’s optimistic about families finding and connecting with her music, whenever the timing might be: “I didn’t get to promote this album like I wanted to, but I’m really proud of it,” she says of My Hat.

“It felt very alive when it was happening,” she shares, looking back at what it was like to record the album post-pandemic, and while she was a new mom. “To just sit in a room and I have the microphone, while Jake’s on bass, and my friend Sean’s on guitar, and my friend Brendon’s on drums, and we’re just all there and it felt so great … There was just something nice about all of us being in a room and and singing these ridiculous songs.”

Before My Hat‘s release last year, Micucci was in tears — the good kind — over how absurdly funny it was to film a music video for lead track “Grocery Store,” which has her musing about the wide variety of things one can find while out shopping for food: not only cantaloupe, steak and 30 kinds of Jell-O, but starter logs and a navy blue snowsuits, too (that one’s based on a real story from when she was a kid).

“We didn’t get permission,” she recalls of making the video, which was filmed on an iPhone by friend and director Caitlin Gerard, who was sitting in an actual grocery cart to get the shot. “We just were secretly filming in grocery stores. We got kicked out of two. It took three grocery stores to get that video.”

“I’m pushing the cart, and there were so many laughs, because so many funny things would happen because they’d be like, ‘What are you doing?’ or ‘Why is this person in the cart?’” Micucci says. “I remember having one laugh that day that I was like just crying and couldn’t stop. It was a good time.”

Micucci always knew she loved to perform, but remembers being “a really shy kid, and I think I was also kind of embarrassed to say that I wanted to be a performer.”

“My brother and I were always doing shows, and we were always making movies in the backyard,” she says of her childhood. She was also exploring art then, and her mom was a piano teacher. “We were definitely a creative household.”

Kate Micucci art

Art by Kate Micucci.

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“I feel like in some way I’m doing exactly the same thing I was doing when I was a little kid, which is that I’m doing art, doing music and getting to perform. It hasn’t really changed for me, which I think is very lucky,” says Micucci. It’s her “natural place.”

Interestingly, many songs that eventually became My Hat came to her far before she had a kid. Some she developed and performed in her live show Playing With Micucci, she says — “They were just written because they came out [of me]” — and it wasn’t until after her son arrived that those songs found a home among the new music he was inspiring her to write.

“I would say half the songs are from when I was in my early 20s, and then half the songs are from me writing for for an actual child. But then also, one of the songs is half and half: the song ‘King of the World,’ which is the last track on the album. I started writing it — I remember exactly where I was. I was 27 years old … I was like, ‘Wait a second. This song is for my son. I’m writing a song for my little boy.’ And I was like, ‘Wait, I’m going to stop writing this song because I need to finish the song when I actually have a son … So, you know, it took me 13 years.”

Micucci now brings her son on stage at her fun Los Angeles shows held at the historic Bob Baker Marionette Theater, where they’re also joined by puppets and marionettes. “He plays the guitar for the whole 45 minutes,” she jokes, “which is really, I mean, he’s strumming along.” She hopes to start up a show in New York City in the summer, and “would love to take it to other places, as well.”

If you’re interested in a recommendation from a 4-year-old on what to play from My Hat with your own little ones, Micucci’s kid’s got opinions.

Kate Micucci son

Kate Micucci and her son perform at the Bob Baker Marionette Theater in Los Angeles.

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“He has a least favorite,” Micucci quips when asked which song is her son’s favorite. “Yeah. The song ‘Brandy, Lost Dog in the City.’ He won’t let me play it because he says it makes him too sad.”

The real answer: “I think ‘Bucket of Beans’ is probably Mikey’s favorite.”

The album is streaming on Spotify and on Apple Music, and you can follow Micucci on Instagram.

Post Malone Unwittingly Aids Jack Black in Satanic Corruption in Hilarious ‘Dear Santa’ Trailer: Watch

In a new trailer for Paramount+’s new film Dear Santa, Post Malone dances with the devil — literally.

The two-minute teaser released Thursday (Nov. 7) opens with a young boy named Liam (played by Robert Timothy Smith) addressing a letter to Santa. However, as the narrator explains, he’s a “crappy speller” and accidentally writes “To: Satan” instead. Once summoned, the devil — played by a bearded Jack Black with pointy horns — promises to grant Liam three wishes.

But there’s a catch. “By the way, after you make your wishes I’m taking your soul,” Black tells his new companion. “Let me show you a few of the things I can do for you.”

One of those things, apparently, is getting Liam into the backstage area of a Post Malone concert, where the “Psycho” musician — seemingly under Black’s spell — greets the young fan like an old friend before inviting both Liam and Satan to join him on stage during the show. In addition to shots of Posty hamming it up for the crowd with the two main characters showing off their lasso dance moves, Black also introduces the little boy to gambling at a casino, making “snow angels” in a pile of cash and playing beer pong.

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Dear Santa is set to premiere on Paramount+ Nov. 25. The cast also features Keegan-Michael Key, Brianne Howey, Hayes MacArthur, P.J. Byrne, Jaden Carson Baker and Kai Cech.

The movie isn’t the first onscreen project Posty has lent his star power to, with the 10-time Grammy nominee previously appearing in Road House, Wrath of Man and Spenser Confidential. Earlier this year, he also made a cameo in Jennifer Lopez’s This Is Me… Now: A Love Story.

The star’s latest film will arrive just a few months after his most recent album, F-1 Trillion, which debuted at No. 1 on the Billboard 200. He’s also fresh off of a video of the year win at the 2024 VMAs thanks to his part in Taylor Swift’s visual for their “Fortnight” duet, which spent two weeks at No. 1 on the Billboard Hot 100.

Watch the Dear Santa trailer featuring Post Malone below.

‘Mario & Luigi: Brothership’ Is Out Now: Here’s How to Buy the New Video Game Online

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The Mario & Luigi franchise has been a fan favorite since its first game in 2003. And now more than 20 years later, the Mario & Luigi role-playing game series comes to a big TV with the Nintendo Switch, which is the first time fans can play one of these games on a home console. However, you can still play it on-the-go since the Switch is also a portable handheld device.

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Priced at $59.99, Mario & Luigi: Brothership for Nintendo Switch is available at Target and other retailers starting on Thursday (Nov. 7).

And if you’re a Target Circle member, you can order now and get Mario & Luigi: Brothership delivered straight to your home in two days (with orders over $35) — or you can pick it up at your local Target store for free.

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Not a member? Sign up for a free membership to take advantage of all that Target Circle has to offer, including access to “deal of the day” products, instant savings on select items, three months of Apple TV+ to watch hit originals, access to exclusive shopping events — such as Target’s Deal Days and early Black Friday deals — and other perks.

If you want to take it a step further, you can sign up for the Target Circle Card (with no annual fee), which offers an extra 5% discount on all purchases, two-day free shipping with no order minimums and more. Learn more about the Target Circle Card here.

In addition, Mario & Luigi: Brothership is available at Walmart and Amazon.

Nintendo

‘Mario & Luigi: Brothership’

Mario & Luigi: Brotherhood takes place on the high seas in the world of Concordia, as the two brothers travel from island to island on their trusty ship, Shipshape. Mario and Luigi must connect the broken pieces of Concordia’s islands back together again in a series of platforming, strategy and turn-based role-playing action.

In our playthrough, we found the game to be challenging yet fun as you start to discover Concordia through its islands and creatures. The mechanics of the game can be tough to pick up at first, but if you’re familiar with the role-playing genre, then it should be easier. However, if this is your first time playing a Mario & Luigi game, then there could be a slight learning curve for strategy and precision gameplay; there’s no button-mashing with this game.

As for the game’s music, video-game fans will be happy to see Hideki Sakamoto as Mario & Luigi: Brotherhood’s composer. Sakamoto has created some of the most iconic and memorable themes from games such as Super Smash Bros. Ultimate, Shinobido: Way of the Ninja, the Pokémon Mystery Dungeon games and others.

Retailing for $59.99 and available for purchase at Target, Walmart and Amazon, Mario & Luigi: Brothership is out now. In the meantime, watch the overview trailer for the game, below:

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

Arthur Fogel, Bobby Campbell and Disco Donnie Added as Speakers for Billboard Live Music Summit

Billboard, in partnership with AEG Presents and Live Nation, has announced the second round of industry leaders participating in this year’s Billboard Live Music Summit and Awards, taking place on Thursday, Nov. 14 in Los Angeles. Bringing together the brightest stars and leaders in music, the day will be an unparalleled celebration of creativity and achievement in the live space through exclusive panels and conversations.

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The second-round lineup includes:

Inside Global Touring Today: A Conversation with Arthur Fogel & Bobby Campbell: Join Live Nation’s Arthur Fogel as he sits down with artist manager Bobby Campbell to explore the evolution of global touring. From the growing demand for live experiences to advancements in large-scale production, Fogel and Campbell will share insights into how the industry continues to push boundaries and create unforgettable moments for fans around the world.

Trends In Ticketing: The Latest In Innovation and Tools: Sponsored by AXS, this panel will take a deep dive into how artists and their managers are improving the live experience at the point of purchase. Moderated by Greg Schmale from AXS, this panel will include Amanda Gray from Goldenvoice, Katie Nowak from TBA Agency, Thomas Cussins of Ineffable Music and Fielding Logan from Q Prime.

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The Life And Times of Disco Donnie: Veteran dance and EDM promoter James “Disco Donnie” Estopinal sits with Billboard Live Senior Director Dave Brooks to talk about his long career in live music and the future of the fan and artist relationship.

Previously announced talent and industry leaders include:

Multi-platinum singer-songwriter Olivia Rodrigo will be a part of the Superstar Q&A and will receive Billboard’s editorially selected Touring Artist of the Year award.

Louis Messina will be honored with the prestigious Touring Titan Award and recognized as the Executive of the Year in honor of his work producing Taylor Swift’s record-breaking Eras Tour, as well as tours for Eric Church, George Strait, Kenny Chesney and many more top grossing artists. Following the award presentation, he will sit with Billboard’s Melinda Newman for The Power Players Conversation. Together, they will delve into Messina’s remarkable career, covering his time with Pace Concerts, his work with artists like Tim McGraw, Ed Sheeran and Shawn Mendes, as well as his plans to build the next generation of touring superstars. This fast-paced, insiders-only conversation will offer attendees a rare glimpse into the business mindset of the 21st century’s most successful concert promoter and showman.

John Summit and his longtime manager Holt Harmon will take part in an exclusive conversation, Inside the Rise of John Summit. Moderated by Billboard’s Katie Bain, the duo will discuss Summit’s explosive rise and the strategy behind it, exploring how the producer went from playing small bars and clubs to becoming one of the leading artists in the global dance scene. They’ll share insights into the creative process behind Summit’s chart-topping hits, the evolving relationship between artists and audiences and the challenges and opportunities DJ’s face in an ever-changing market.

A powerhouse lineup of agents are set to share their insights and expertise during the Agents Power Panel: A New Era of Uncertainty, moderated by Billboard’s Jason Lipshutz, and featuring industry heavyweights like Avery McTaggart of TBA Agency, Brent Smith from Wasserman, David Zedeck of UTA, Jarred Arfa from IAG, as well as Kirk Sommer from WME and Rick Roskin representing CAA. This panel is sponsored by Allegiant Stadium and a must-attend session for anyone involved in talent booking. The Agency Power panel will cover all things related to artist development and representation with a focus on building superstar talent for a growing global audience.

L-Acoustics, the leader in professional audio technologies, is sponsoring the The Immersive Experience: The Future of Sound, Visual and Interactive Programming at Festivals panel. A distinguished group of executives will take center stage to discuss how innovations in sound, video and immersive media are transforming the festival experience. Moderated by Amber Mundinger (L-Acoustics Global Director of Artistic Engagement), the panel features Dave Rat, President of Rat Sound Systems, Polygon’s David Lopez de Arenosa, and WME’s Josh Kurfirst. They will explore the critical role of sound design and technology, including deploying large-scale spatial audio, immersive sound and projection mapping. From deep diving into Electric Forest’s sellout success to new initiatives for developing artists, the Festivals of the Future panel will serve as a roadmap for the next generation of experienced creators.

The Live Music Awards, which will honor touring acts as well as some of the visionary executives behind them, are based on a number of criteria ranging from revenue to tour demand, production, technical ambition, fan engagement, momentum and cultural impact.

Programmed by Brooks, who has worked at Billboard since 2017, the Billboard Live Music Summit and Awards will bring an unforgettable experience, spotlighting some of the biggest names in music and emerging artists who are shaping the future of the industry. The event will feature a series of keynote panels as well as the Billboard Live Music Awards, honoring artists and industry professionals who have made significant contributions to the world of live music.

In addition to exclusive panels and conversations with the brightest stars and industry leaders, the summit will feature insightful panels with leading figures from AEG Presents and Live Nation, exploring trends, challenges, and innovations in the live music sector. The summit aims to foster dialogue and inspire future developments in the industry.

Additional information will be distributed in the coming weeks. For more information on this year’s Billboard Live Music Summit and Awards, visit billboardlivemusicsummit.com.