Miley Cyrus Declares ‘The Kids Don’t Wanna Dance’ on New Single

"Bass Persuades" is the first glimpse into the singer's 10th studio album of the same name

Miley Cyrus attends the 37th Annual Palm Springs International Film Festival Film Awards.

Miley has dropped her last name — and her new single, “Bass Persuades.”

Just like Charli XCX declared the “dance floor is dead,” Miley has declared, “The kids don’t wanna dance” on her propulsive new dance pop song. “If we ain’t moving, baby, baby, why are we here?,” she sings over Eighties-inspired synths.

Despite teasing the track with a clip that featured the singer slinging the same Fender Stratocaster from her album teaser visual, “Bass Persuades” is meant to get you onto the dance floor, rather than into the mosh pit.

Along with the track, Miley has also shared a dance-forward video. Directed by Mert Alas, the visual finds the singer at her full pop star best as she inspires a New York poker club to dance with her. Or maybe it’s the bass persuading them?

“Bass Persuades” is the first glimpse into the singer’s 10th studio album of the same name, which she just announced this week (along with the ditching of her surname). Bass Persuades, the album, is the follow-up to Miley’s 2025 LP Something Beautiful and her first album under new label home Atlantic Records.

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Along with the album announcement and lead single, Miley also shared that she will be taking the stage this fall when she headlines two nights at the Hollywood Bowl on Oct. 16 and Oct. 18. The shows will mark her first full concert in the U.S. since 2021.

It’s all gearing up to be an exciting new era for Miley. “Thank you for being a part of making my wildest dreams come true,” the singer wrote in an Instagram post unveiling the album’s cover art. She added: “I sincerely hope you love this album.”

Lisa in Always Lalisa

Early last year, Blackpink rapper and singer Lisa stepped into the spotlight on her own with Alter Ego, her debut solo album. She had explored solo projects in smaller endeavors before, like the 2021 EP Lalisa, but a full-length was a much bigger undertaking. Lisa captured the pressure and lessons that came with the experience in the documentary film Always Lalisa, arriving in theaters internationally on Oct. 12.

Directed by Sue Kim, Always Lalisa follows Lisa as she builds her solo career outside of Blackpink while balancing global stardom and personal developments in the public eye. Her journey includes not only music, but fashion, television, and the personal brand she has developed around these different sectors.

“Following Lisa on this transformative and thrilling year has been a true honor and a cinematic gift,” Kim said in a statement last year, when production on the documentary began. “There have been so many moments on her journey that I think will surprise people and give a glimpse into her world that no one’s ever seen before. I’m excited for viewers to watch the film and witness this extraordinary moment in her life.”

“This has been such an incredible year and I’m so lucky to have the opportunity to capture these special moments on film and share the experience with my fans,” Lisa said at the time. “Working with Sue Kim has been such a joy. We’ve been all around the world together and I know this is just the beginning of many more exciting things to come.”

Following the theatrical release of Always Lalisa, the documentary will be made available to stream exclusively on YouTube Premium. Tickets for the IMAX screenings of the film go on sale on Sept. 9.

“LISA’s music resonates with fans across the globe and we hope this film creates that same powerful connection,” said Sony Music Vision President Tom Mackay. “Alongside its theatrical release, we’re thrilled to partner with YouTube Premium to bring this intimate look at her incredible journey directly to audiences around the world, wherever they are.”

Always Lalisa arrives just under two weeks before the release of Press Play, a six-track project featuring the upcoming single “Sawadika,” out Sept. 3. The record will reflect a deeper exploration of the 29-year-old’s Thai roots and lean into a more personal approach to her solo output. Press Play is set for release on Oct. 23. In November, Lisa will make history as the first K-pop artist to stage a Las Vegas residency.

Last month, Lisa celebrated the tenth anniversary of Blackpink in an Instagram post. “Thank you so much to all the Blinks who were there with me throughout these ten years,” she said. “Because of your support, you are the ones who keep me going and I promise to keep working hard to do the same for you. I strive to be a better version of myself to make you guys proud. And to my ride or die members, its been a rollercoaster of a ride but I wouldn’t have it any other way. There will be ups and downs but we are in it together and know that I will always have your back.”

The Society of Composers, Authors and Music Publishers of Canada (SOCAN) is taking its battle over artificial intelligence and copyright to court, announcing today it has filed a lawsuit against AI music company Suno Inc. over its alleged unauthorized use and reproduction of musical works represented by the Canadian performing rights organization.

In a statement Wednesday, SOCAN said it has identified Suno-generated outputs that are identical or similar to songs in its repertoire, notably songs by by artists like Avril Lavigne and Joni Mitchell. The organization says the lawsuit includes a sample of 150 publicly available Suno outputs that it believes infringe the performing rights attached to those works.

According to the release, Suno has built its generative AI platform by training its models on music files readily accessible online without obtaining the necessary permissions or licences. The organization alleges that the resulting technology can generate and publicly stream music that replicates existing compositions, including works represented by SOCAN members.

The lawsuit focuses on Suno's activities in Canada, alleging that making the platform available to Canadian users, generating outputs that replicate songs in SOCAN's repertoire and streaming those outputs constitutes infringement of performing rights.

“SOCAN has a responsibility to act when the rights of music creators and publishers are put at risk,” CEO Jennifer Brown said in the statement. “Innovation can’t come at the expense of human creativity.”

SOCAN's chief legal officer and general counsel Andrea Kokonis said the organization is seeking to establish that existing copyright protections remain applicable as the technology develops. “Our evidence is clear, and so is our objective: to establish that AI companies must respect the rights of music creators and publishers,” Kokonis said.

The organization declined to comment beyond what is contained in the court record. Suno has not yet publicly responded to the allegations in SOCAN's announcement.

D4vd in Los Angeles County Superior Court.

Patrick Steinfeld, the lawyer representing the family of the 14-year-old girl D4vd is accused of sexually assaulting, murdering, and dismembering, is disputing the singer’s claim that he is indigent and entitled to a public defender.

In a statement obtained by Rolling Stone, the lawyer for the family of Celeste Rivas Hernandez alleges the singer, whose real name is David Anthony Burke, is concealing assets in companies he owns and through money he transferred to his mother, Colleen Burke. Steinfeld argues that the public should be angered that a platinum-selling artist is seeking publicly funded representation.

“It is unfathomable that our justice system qualifies David Anthony Burke as indigent when D4VD has 5+ billion streams with 16 million monthly listeners on a single streaming platform, and controls three corporations,” Steinfeld wrote in the statement. “The residents of Los Angeles County should be outraged because it will be the taxpayers that are picking [up] the tab to defend this millionaire on charges of murder, continuous sexual assault of a minor under 14 years of age, and unlawful mutilation of human remains.”

Steinfeld quoted from testimony at Burke’s preliminary hearing, where Deputy District Attorney Beth Silverman questioned Benjamin Greger, a former financial manager at Burke’s management company, Mogul Vision. Greger testified that Burke took home roughly $10 million to $11.5 million in gross earnings through recording, merchandising, and music-publishing deals and that Greger discussed transferring Texas properties held in Burke’s name to his mother, Colleen Burke.

“Do you remember testifying that the reason you told her to do that was to protect his estate from any civil suit, so the victim’s family wouldn’t be able to…get…that money?” Silverman asked at the hearing in July.

“I do recall, yes,” Greger testified.

The Rivas Hernandez family attended each day of the preliminary hearing but did not speak to the media during the proceeding.

“We as a family only want justice for Celeste and for whoever is responsible to face the full force of the law. And we thank everyone for supporting our daughter in every way,” the family said in a new statement shared with Rolling Stone this week.

Burke, 21, was arrested in April and pleaded not guilty to his charges at a rearraignment on Monday. His lawyer, Los Angeles County Public Defender Walid Kandeel, began representing D4vd immediately Monday after Burke’s high-powered private legal team, including Blair Berk and Marilyn Bednarski, handed the case over to him.

At the hearing, Los Angeles County Superior Court Judge Charlaine Olmedo asked Kandeel if his office needed more time “to see if Mr. Burke qualifies” for a public defense. Kandeel said the office was “prepared” to move forward and was seeking appointment.

“We’re not at liberty to disclose financial information. Our office has done a thorough financial evaluation and determined that David Burke is eligible for representation by the Public Defender’s Office,” a spokesperson for the office said in a statement sent to Rolling Stone.

Judge Olmedo decided in July that there was enough evidence to send Burke to trial. Prosecutors say Burke sexually abused Rivas Hernandez for more than a year before killing her in April 2025 when she threatened to expose the alleged abuse. They claim he dismembered her in his garage using a chainsaw and hid her remains in the front trunk of his Tesla.

Jamaican producer Cleveland “Clevie” Browne and the Wycliffe “Steely” Johnson’s estate have been dealt a blow in a copyright case that opposed them to more than 150 different artists. The case centered around a sound called ‘dembow’, characteristic of reggaeton.

In July, lawyers for the artists asked the judge to reconsider a ruling a jury must determine whether roughly 1,800 reggaeton songs by more than 100 artists infringed the copyright to Cleveland “Clevie” Browne and the heirs of Wycliffe “Steely” Johnson’s 1989 song “Fish Market,” which the plaintiffs claim originated reggaeton’s defining dembow rhythm. Bad Bunny’s lawyers, later joined by attorneys for the other artists, asked the judge to reconsider, arguing that the allegedly protectable “Fish Market Elements” are merely a “pastiche” assembled from different parts of multiple songs.

The judge has now ruled that the plaintiffs failed to establish copyright ownership of the beat, Billboard reports.

The lawsuit, filed in 2021, targets nearly 2,000 songs and names artists including Karol G, Daddy Yankee, J Balvin, Drake and Luis Fonsi. Bad Bunny’s legal team argued that the plaintiffs were attempting to claim a “Frankenstein” copyright built from elements of three separate songs. Birotte agreed, finding that the allegedly protected musical arrangement does not appear in any single copyrighted work.

Browne and Johson’s claims cast a very wide net, and though this particular instance has been resolved, there are other active lawsuits against artists for more specific sampling of their work without clearance.

Taylor Swift and Travis Kelce are seen during the 2024 US Open Tennis Championships on September 08, 2024 in New York City.

Travis Kelce and Taylor Swift wanted their wedding to be “intimate and genuine,” Kelce said on the first episode of his New Heights podcast since the July 3 ceremony. Naturally, they went with the most famous arena in the world. Madison Square Garden perplexed some spectators as a venue choice, but it made perfect sense to Kelce and Swift. “We needed it to be a private feel and MSG went above and beyond to give us that,” Kelce said.

The athlete didn’t spill too many details about what happened in the room, which was populated by guests including Brad Pitt, Paul McCartney, Conan O’Brien, Gigi Hadid, Lena Dunham, Zoë Kravitz, and more. “It’s a night we’ll never forget. Me and Taylor are so thankful for everybody that showed up,” he said. “From the vows to seeing everyone to how much fun we had throughout the entire evening, and hearing that kind of be relayed through everybody’s stories of the night, and it was just so magical, man.”

If it were up to Kelce, they would have kept the party going all night. Unfortunately, “once the drinks stop being served, everyone kind of just starts to mosey out.”

Kelce also extended a special thank you to Adam Sandler, who officiated the wedding. Prior to recruiting the actor for a key role during their wedding day, Kelce appeared alongside Sandler in Happy Gilmore 2 and Swift has been “so damn nice to my family” over the years, Sandler said.

“He has been just the fucking best person on this planet,” Kelce said. “For him to be up for getting ordained in the state of New York and marrying me and Taylor in the way he did it — in the very, you know, Sandman style — and giving us more than we could have ever imagined in that moment, knowing that it was the biggest night of both of our lives, it was absolutely insane.”

Kelce and Swift made their wedding phone-free for ease of interaction. “With no phones comes people not having to be on guard,” he said. “It makes everyone be in the moment and be present.” Having been in the moment himself, Kelce has been collecting feedback and pieces of memories from the night from attendees, whether Hollywood stars or hometown figures, like old teachers and people Swift has known her whole life. “It’s just been so cool to see that world come together and hear through person by person after the wedding just how awesome of a time everyone had there,” Kelce said. “That’s what we wanted it to be.”