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Miley Cyrus‘ Bangerz era was pretty unforgettable, with the pop star repeatedly shocking the world through risqué outfits and provocative performances at a time when many still associated her with the squeaky-clean image of Disney Channel’s Hannah Montana.
But during a candid interview with Monica Lewinsky on her Reclaiming podcast posted Tuesday (June 10), the pop star revealed just how much the backlash affected her — and her relationships with her family — when it all went down circa 2013. “That was the time where I just got hit so hard, and I was so embarrassed,” she said, referring to the criticism.
“There was even a time where my brother and sister didn’t want to go to school, because of how humiliated they were to be related to me,” she continued. “I had a lot of guilt about how hard it would’ve been to be my sibling or my parent, and how embarrassing.”
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Cyrus has five siblings, including half-sister Brandi, half-brothers Trace and Christopher, brother Braison and sister Noah. In addition to affecting the lives of her siblings, the Grammy winner said that the years surrounding the release of her Bangerz album also put a strain on her relationships with her father, Billy Ray Cyrus — “It was really hard for me to go home and see my dad and look him in the eyes and not feel super embarrassed,” she noted — and her grandmother.
She also said that she has since worked through the feelings of shame that lingered from that time period in therapy, but was very honest about how she “lost everything” as a result of her risqué persona. “If I kept dressing or acting a certain way, my relationships fell apart,” Cyrus said. “No one wanted to date me, because they didn’t want to be with a woman [whose] sexual expression part was not for them, it was like shared with the world.”
“I was engaged at the time,” she continued, referring to ex-husband Liam Hemsworth. “That didn’t work out, because I was sharing a part of myself that men wanted to be saved for them only.”
Cyrus has come a long way since the events of 2013, the most memorable of which was arguably her parental-panic-inducing, half-nude performance alongside Robin Thicke at that year’s MTV VMAs. Though Bangerz spawned her first-ever Billboard Hot 100 hit with “Wrecking Ball,” she has since outdone herself with the eight-week chart reign of “Flowers,” which also earned the singer her first-ever Grammys at the 2024 ceremony. Cyrus is now fresh off the release of her new album, Something Beautiful, which debuted this week at No. 4 on the Billboard 200.
But while the criticism she faced more than a decade ago hurt in the moment, Cyrus says she now understands why it was so extreme. “What I did wasn’t shocking, it was who I was that was shocking,” pointing out that her past as the kid-friendly Hannah Montana character made her pivot feel even more disturbing to the public.
To give an example, Cyrus pointed out that, in comparison, barely anyone batted an eye at Cardi B and Megan Thee Stallion’s “WAP” in 2021. “But Cardi B isn’t for kids,” the Black Mirror alum acknowledged. “She’s not a child star. For me it was hard to go, ‘Why is Rihanna not in trouble?’”
Watch Cyrus’ full interview with Lewinsky above.
Former Newsboys member Michael Tait, who abruptly left the Contemporary Christian Music group in January, is speaking out about allegations of sexual misconduct and drug use brought against him over the past week.
In a lengthy Instagram post titled “My Confession, Michael Tait, June 10, 2025,” the singer-songwriter — who was also a founding member of Christian rap and rock trio DC Talk — directly addressed the reports, writing, “Recent reports of my reckless and destructive behavior, including drug and alcohol abuse and sexual activity are sadly, largely true. For some two decades, I used and abused cocaine, consumed far too much alcohol and, at times, touched men in an unwanted sensual way. I am ashamed of my life choices and actions, and make no excuses for them. I will simply call it what God calls it– sin. I don’t blame anyone or anything but myself. While I might dispute certain details in the accusations against me, I do not dispute the substance of them.”
Tait noted that following his departure from Newsboys, he spent six weeks at a treatment center in Utah, saying, “I was not healthy, spiritually or physically, and was tired of leading a double life.” He said he has been “clean and sober” since his time at the center, though he adds, “I still have lots of hard work ahead of me.”
He wrote, “I’m ashamed to admit that for years I have lied and deceived my family, friends, fans and even misled my bandmates about aspects of my life. I was, for the most part, living two distinctly different lives. I was not the same person onstage Sunday night that I was at home on Monday. … By His grace I can say that for the past six months, I have lived a singular life, one of utter brokenness and total dependence on a loving and merciful God.”
He also said that he is “committed to continuing the hard work of repentance” and that he will be doing so “quietly and privately, away from the stage and spotlight.”
He wrote: “I have hurt so many people in so many ways, and I will live with that shameful reality the rest of my life. I can only dream and pray for human forgiveness, because I certainly don’t deserve it. … Still, I want to say I am sorry to everyone I have hurt. I am truly sorry. It is my hope and prayer that all those I have hurt will receive healing, mercy and hope from the Merciful Healer and Hope-Giver.”
Last week, The Roys Report published what it called the results of a two-and-a-half-year investigation into allegations against Tait. The report included accounts from three people who claimed that Tait groomed and sexually assaulted them while on tour or at Tait’s home; the accusers alleged that the incidents took place between 2004 and 2014, while the report claimed that other sources said Tait had also been involved in drug use.
Current Newsboys members responded to that report last week, encouraging victims to come forward and stating, “We are horrified, heartbroken and angry at this report and in many ways, we feel as if we and our families have been deceived for the past fifteen years.”
Prior to his work with Newsboys, Tait was also known for his work as part of the groundbreaking CCM trio DC Talk from 1988 to 2001. Alongside fellow DC Talk members TobyMac and Kevin Max, Tait found success with songs such as “Jesus Freak” and the Billboard Hot 100 hit “Between You and Me.” Their 1995 album Jesus Freak rose to No. 16 on the all-genre Billboard 200 and earned a Grammy for best rock gospel album.
If you or someone you know has experienced sexual assault, you can call the National Sexual Assault Hotline at 1-800-656-HOPE (4673).
The 2025 Argentina Music Report from the Argentine Chamber of Phonogram and Videogram Producers (CAPIF) shows that streaming is still dominating the country’s music industry, making up 79% of total recorded music revenue in 2024.
Within the digital segment, subscription-based streaming leads with 65% of the revenue, solidifying itself as the main source of music monetization in Argentina. Meanwhile, ad-supported streaming accounted for 35% of the total.
“For the first time since emerging from the post-pandemic crisis, the numbers in our industry show a decline in 2024 compared to the previous year,” says CAPIF president Diego Zapico in the annual report shared with Billboard Español. “The causes are varied: they range from the macroeconomic reality of our country to specific factors within our sector that had been accumulating imbalances and were exposed over the past year.”
“The market decline is explained by the fact that the value of service tariffs does not keep pace with the evolution of the economy and therefore, at constant values, service prices are relatively lower today,” a representative of CAPIF tells Billboard Español. “In addition, the drop in revenues from communication to the public attributable to decree 765/24, published in the Official Gazette on August 28, 2024, which modified the intellectual property regime in Argentina, particularly with respect to the public performance of musical works, has also had an impact.”
Additionally, physical sales — though declining — still made up 7% of the market, with vinyl records solidifying their spot as collectors’ favorite format, accounting for 69% of physical sales compared to 31% for CDs.
“Our country is an endless source of talent, with an incredible diversity of styles, genres, and music,” adds Zapico. “It’s a place where creativity flows freely, where artists collaborate across boundaries, and where languages and sounds constantly mix, fuse, invent and reinvent themselves.”
The report also highlights the impact of Latin artists in the top 10 of the 2024 General Ranking. Among the most popular tracks are “Hola Perdida” by Luck Ra and KHEA, “Piel” by Tiago PZK and Ke Personajes, and “Que Me Falte Todo” by Luck Ra and Abel Pintos. Other hits, like “Una Foto” by Mesita, Nicki Nicole, Tiago PZK and Emilia, as well as “La_Original.mp3” by Emilia and Tini, showcase the reach of Argentine music in both the local and regional markets.
“This is our unique national identity when it comes to art and music, and it’s what drives the success of many of our artists around the world,” says Zapico. “From the legends and established stars to the newcomers who emerge year after year, their strong presence at the top of global and regional charts and scenes stems from this.”
Check out the full top 10 of the 2024 General Ranking below:
Luck Ra y KHEA, “Hola Perdida”
Tiago PZK y Ke Personajes, “Piel”
Luck Ra y Abel Pintos, “Que Me Falte Todo”
Feid y ATL Jacob, “Luna”
Mesita, Nicki Nicole, Tiago PZK y Emilia, “Una Foto”
Los Ángeles Azules y Emilia, “Perdonarte, ¿Para Qué?”
Emilia y Tini, “La_Original.mp3″
Floyymenor y Cris MJ, “Gata Only”
Luck Ra y BM, “La Morocha”
Salastkbron y Diego París, “Un Besito Más”
On the other hand, “Luna” by Feid and ATL Jacob leads the top 10 of the Spanish-Language Foreign Artists Repertoire; while Benson Boone leads the top 10 of the Foreign Artists Repertoire in Other Languages ranking.
To see the full annual charts, click here.
Jon Loba, president of Frontline Recordings for BMG Americas, has been named the recipient of Country Radio Broadcasters (CRB) Inc.’s 2025 CRB President’s Award. The honor is presented to people who have displayed “exceptional dedication and played a vital role in shaping the success of the Country Radio Seminar and its mission to advance the […]
Source: Paras Griffin / Getty / Doechii
Monday night at the Peacock Theater, Doechii wanted to make sure to point out what was happening in the streets of downtown Los Angeles while they celebrated “culture’s biggest night,” at the BET Awards.
The Swamp Princess’ stellar year continued at the 2025 BET Awards, taking home the award for Best Hip-Hop Artist, but that’s not what she was getting praise for.
The Florida artist used her acceptance speech moment to remind everyone of what was happening outside the Peacock Theater, away from the celebrating, glitz, and glamour. Donald Trump and his administration are using the full might of the government to terrorize immigrants and American citizens who don’t rock with the MAGA agenda.
Before BET Weekend kicked off, mostly peaceful demonstrations denouncing the immigration raids of workplaces conducted by Immigration and Customs Enforcement (ICE), where hardworking immigrants are being detained under the guise of detaining “dangerous illegal immigrants and gang members,” were conducted by the government agency.
Over 40 people were arrested as a result of the raid.
LA Mayor Karen Bass said to reporters, “ICE initiated enforcement actions on several workplaces. That created a sense of chaos, outrage, fear, and terror because people are very worried as to what happened to their families.”
The situation was exacerbated when Donald Trump federalized the National Guard without consulting Governor Gavin Newsom, who, under normal circumstances, is in control of the state’s National Guard.
The Swamp Princess Didn’t Miss The Moment To Speak Up For Marginalized People
Doechii, unlike some other artists, was not afraid to keep it real (looking at you, Snoop) about what is going on in the streets of LA and possibly across the country.
“I do wanna address what’s happening right now outside of the building,” Doechii began. “There are ruthless attacks that are creating fear and chaos in our communities in the name of law and order. Trump is using military forces to stop a protest, and I want y’all to consider what kind of government it appears to be when every time we exercise our democratic right to protest, the military is deployed against us.”
“What type of government is that?” she asked, drawing huge applause from the crowd. “People are being swept up and torn from their families, and I feel it’s my responsibility as an artist to use this moment to speak up for all oppressed people.”
She continued, “For Black people, for Latino people, for trans people, for the people in Gaza. We all deserve to live in hope and not in fear, and I hope we stand together, my brothers and my sisters, against hate, and we protest against it. Thank you, BET.”
Doechii received plenty of praise for using her moment to highlight the struggles that were happening in the streets of Los Angeles.
You can see those reactions in the gallery below.
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On Monday (June 9), the night before David Israelite’s third annual Music Investor Conference, the National Music Publishers’ Association and Billboard hosted their annual music investor dinner at Manhattan’s Estiatorio Milos Midtown. Over Greek seafood, three dozen of the top figures in the music investment business discussed deals, the larger business environment and how music […]
“Weird Al” Yankovic has had a storied career creating song parodies of some of the biggest artists in the world. But the singer can’t seem to get over his recent appearance on the cover of Billboard.
While speaking to Jimmy Fallon on The Tonight Show Tuesday (June 10), Yankovic gushed about gracing our latest ahead of his upcoming Bigger and Weirder Tour. “That was such a big deal to me, because I grew up being obsessed with Billboard magazine,” he raved, saying that the cover slot means that an artist has “made it” in his eyes. “That was like the bible of the entertainment industry.”
The recognition was especially meaningful to him as he says his name was spelled incorrectly in his first-ever Billboard magazine appearance (whoops). “They misspelled my name, and you’d think it would be ‘Yankovic,’” he recalled, laughing. “But it was ‘Weird Owl.’”
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Also on The Tonight Show, Yankovic revealed that he tried multiple times to get Princes’s approval on a song before his death in 2016. “Prince is like the one guy who was never into it, and he’s got a good sense of humor,” Yankovic began, noting that he once heard a recording of the late icon praising one of his spoofs.
“When it came to parodying one of his songs, not so much,” the musician continued, revealing that he submitted at least “half a dozen” rejected requests to Prince.
Yankovic also shared one of the ideas that never got Prince’s sign-off: a parody of the funk-pop star’s hit song “1999,” which would’ve been called “$19.99” and written in the style of a TV infomercial. “This killed me, because I thought it was going to be really funny,” Yankovic said on the late-night show.
Though Prince was never down for his songs to get the Weird Al treatment, the comedian has made joke-filled versions of hits originally by Michael Jackson, Lady Gaga, Queen, Police and countless other stars over the course of his decades-long career. Even Don McLean, who is supposedly hard to convince on the parody front, allowed Yankovic to put his own spin on “American Pie,” telling Billboard of the resulting Star Wars-themed “The Saga Begins,” “I thought it was better than the original.”
But because Yankovic has always been diligent about getting artist’s permissions before parodying them, he told Fallon that he won’t ever attempt to remake a Prince song in the future. “I try to respect the wishes of the artist, and he made his wishes very, very clear while he was with us,” Yankovic said on the late-night show, earning laughs from the audience.
Watch Yankovic’s full interview with Fallon above.
15 years ago, Wiz Khalifa solidified his mixtape legacy with the release of Kush & Orange Juice, and he returned with a sequel to the classic project earlier this year. Explore Explore See latest videos, charts and news See latest videos, charts and news The Pittsburgh native traveled to the NPR offices to make his […]
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Teyana Taylor took the stage as a sultry robot at the 2025 BET Awards held Monday night (June 10).
Taylor got the crowd jumping, performing her new single “Long Time” off of her highly-anticipated album Escape Room set to release in August of this year. Beyond her fembot-esque ensemble, the singer’s makeup was on point thanks to the work of makeup artist Yeika Glow who utilized products all from MAC Cosmetics.
Teyana Taylor getting her makeup done for the 2025 BET Awards on June 9, 2025 in Los Angeles.
MAC Cosmetics
“This look was inspired by Teyana’s next era and coming back with her new album. Being part of the creative process of her new awakening: softer girl vibe, but still strong. That couldn’t align with a better brand than MAC,” Glow said in a press release in regards to the makeup look she created. “We were able to focus as artists on telling a story through her look, rather than focusing our time mixing 4 shades of foundation because not all brands cater to brown skin. From the red MAC lip she has worn time and time again, to her own collab with the brand, we are here today to celebrate being soft but strong.”
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In honor of Taylor’s crowd-pleasing performance and makeup, we’re giving you the inside scoop into the star’s makeup routine. We’ve picked out the best of the best MAC products Taylor used that you can shop now on the brand’s website and through Ulta Beauty.
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MAC Prep + Prime Natural Radiance in Shade Radiant Pink
A luminous primer that makes the skin look hydrated and glowy.
Taylor and her team prepped her skin for the big night with MAC’s Prep + Prime Natural Radiance in the shade Radiant Pink. This product offers a “glow from within” kind of vibe, featuring a gel consistency and luminous pink pigments that glide right on to give the skin a healthy sheen. Designed for all skin types, this product features hydrating ingredients like glycerin and various plant extracts like rosemary and chestnut to boost hydration while the pearlized pigments bring the shine factor.
MAC Studio Fix Powder Plus Foundation in Shade NC38
A finishing powder and foundation all in one compact.
Following her primer, Taylor’s makeup team used MAC’s new Studio Fix Powder Plus Foundation in the shade NC38, a cool-toned bronzy shade with peachy undertones. This product is a two-for-one, working as a setting powder and foundation. The powder foundation offers the skin a blurring matte finish boasting up to 12 hours of wear.
MAC Extra Dimension Skinfinish in Shade Glow With It
A pressed powder highlighter with a glowing finish.
To get Taylor’s glow, her makeup team used MAC’s iconic Extra Dimension Skinfinish in the shade Glow With It. This formula is jam-packed with finely milled sparkling pigments that offer the skin a buildable to blinding glow with one swipe. The cream-to-powder formula is also budge-proof, wearing for up to 10 hours.
MAC Lipglass Air Non-Sticky Lipgloss in Snobbish
A glassy bubblegum pink lip gloss.
The “Maybe” singer’s glossy lips were thanks in part to MAC’s Lipglass Air Non-Sticky Lipgloss in shade Snobbish, a bubblegum pink hue. This gloss comes in 10 different shades on Ulta Beauty, including a clear formula. No matter the shade, the Lipglass smooths out fine lines on the lips while nourishing thanks to a 7% hydrating blend of pure botanical oils, including coconut, jojoba and meadowfoam seed.
MAC MACStack Elevated Mascara
An ultra-black mascara that lengthens and fluffs up lashes.
This mascara was used on Taylor’s lashes to give her a voluminous finish, making her eyes look dark and striking for her performance. The mascara features an argan oil-infused formula that delivers an instant lash lift without clumping for up to 36 hours of wear. This formula is also smudge, sweat and humidity-proof, meaning it could easily withstand Taylor’s strenuous performance.
MAC Lip Pencil in Shade Cork
A muted golden brown lip pencil with a creamy but budge-proof formula.
Taylor’s lips were defined with help from MAC’s Lip Pencil in the coveted shade Cork, a muted golden brown hue that glides on the lips for a precise finish. You can use these pencils to shape, define and fill in to create the perfect pout for you. The lip pencil is formulated with synthetic wax that gives the pencil a subtle stiffness and staying power so you can overline without worry of transfer.
MAC FIX+ Setting Spray
A hydrating fine mist setting spray that locks makeup in place.
To set her look in place, Taylor’s team used MAC’s iconic FIX+ Setting Spray. A tried and true for many, this setting spray hydrates with a fine mist that locks makeup in place for up to 12 hours. The formula is non-drying because it’s alcohol-free, consisting mainly of moisturizing and soothing ingredients like vitamins, minerals, green tea, chamomile and cucumber extracts.
Doechii’s “Anxiety” entered its third-straight week at No. 1 on Billboard’s Radio Songs chart on Monday (June 9) after spending a total of 12 weeks on the Billboard Hot 100, where it peaked at No. 9. But the song, which samples of Gotye’s “Somebody That I Used to Know,” isn’t just a megahit for the Florida singer and rapper.
Billboard estimates that the publishers of the Belgian-Australian indie rocker Gotye and the Brazilian born jazz-pop artist Luis Bonfá — whose 1967 hit “Seville” is sampled in “Somebody” — could earn as much as $72,000 each from the success of “Anxiety.”
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“Sampling is a big business,” says Michael Poster, chair of music acquisitions and financing at law firm Michelman & Robinson, LLP. When an old hit is revived through a sample, both the masters and publishing rightsholders stand to earn a cut; the publisher becomes a co-owner of the new song; and the old song will likely see an uptick in streaming activity and synch opportunities, industry sources say.
Doechii’s “Anxiety,” Gotye’s “Somebody” and Bonfá’s “Seville” have all seen “a significant increase… in popularity and consumption” since the March release of Doechii’s hit, says Pär Almqvist, CEO of Sweden-based publishing administration company AYO.
As of Monday (June 9), “Anxiety” has generated nearly 1.2 million song consumption units in the United States, where it has racked up nearly 165 million total on-demand streams and roughly 284,000 airplay spins, according to Luminate.
Billboard estimates that those streams, spins and sales of Doechii’s “Anxiety” have generated about $1.165 million in master recording and publishing revenues combined so far this year.
It is unclear exactly how much Gotye directly stands to earn from that amount, but “Anxiety” credits three songwriters: Jaylah Ji’mya Hickmon, or Doechii; Walter André De Backer, or Gotye; and Bonfá.
DMG Clearances, which secured consent from the copyright holders of “Somebody That I Used to Know” for Doechii’s team, declined to comment on the terms of the licensing deals, citing confidentiality.
Deborah Mannis-Gardner, owner/president of DMG Clearances, says that because “Anxiety” lifted directly from the original recording of “Somebody” to incorporate it into a new song, DMG secured consent from both the master and publishing rightsholders. (Songs that interpolate, rather than sample, earlier hits only need to get consent from the publishing side.)
Mannis-Gardner says that sampled songs see twofold benefits: First, the publisher gets an ownership stake in the new song, thereby increasing the size of its catalog. Additionally, fans of Doechii’s “Anxiety” may find their way to streaming Gotye’s “Somebody,” which could then lead them to “Seville” — and both of those songs are likely to field synch inquiries.
Poster and Mannis-Gardner both say that in typical sample deals, the publisher owns a percentage of the copyright to the new song. Industry sources say it is also typical that publishers will negotiate a one-off, non-recoupable licensing fee of at least a few thousand dollars in addition.
If, as one-third co-writers, Gotye’s and Bonfá’s publishers negotiated 30% of the songwriting credit for “Anxiety,” that could result in nearly $72,000 each to Gotye and Bonfá’s publishers, with Gotye and Bonfá netting anywhere from $36,000 to almost $68,000, if they own their own publishing and have administration deals, Billboard estimates.
Industry sources say Gotye’s and Bonfá’s publishers’ likely got smaller cuts than that. However, what the artists stand to earn from the streaming and synch bumps to their catalogs, though harder to calculate, will also add to their bottom line.
“A sample elevates and increases the value of a song,” Mannis-Gardner says. “But keep in mind, music licensing, including sampling, is an emotional business. Approvals, denials and sample values are not based on a rate sheet. It is how the sampled copyright holder and creator feel about the new use.”
