Travis Scott is facing a lawsuit claiming he attacked and threatened the crew of a chartered yacht in Miami two years ago.  

Scott was arrested for disorderly intoxication and trespassing at Miami Beach Marina in June 2024, but no criminal charges were pressed. But now, boat captain Adrian Frometa and charter managers John Steve Holguin and Mirnesa Hasanovic are pursuing civil assault claims against the rapper (born Jacques Webster).

The lawsuit, filed on Saturday (July 11) and obtained by Billboard, says Scott rented a 105-foot yacht called Carpe Diem to cruise around Miami’s coast with three female guests on June 19, 2024. Frometa, at first the sole crew member on board, claims Scott became intoxicated and aggressive as the evening wore on. The captain decided to end the charter early due to this behavior, but Scott allegedly refused to disembark when they returned to the marina.

“Without any warning, Scott pushed Frometa from behind and then struck him with a closed fist to his neck and upper chest,” reads the lawsuit. “Scott then began screaming at Frometa. Scott repeatedly threatened Frometa, including by stating that Frometa was ‘dead’ and that Scott was ‘going to kill’ him.”

Frometa allegedly called in his bosses, Hasanovic and Holguin, for backup, and they arrived 10 minutes later. A further scuffle ensued, during which Holguin says he was knocked to the ground. According to the suit, Hasanovic and Holguin then barricaded themselves inside the boat’s interior while Scott “screamed they were ‘dead’ and attempted to force open the glass door while Holguin and Hasanovic physically held it shut from inside the vessel.”

The situation de-escalated when law enforcement arrived on the scene and ultimately arrested Scott. The rapper later posted his mug shot on social media and sold merch with the photo — a move that, according to Frometa, Hasanovic and Holguin, “made light of the incident and the harm caused.”

The group alleges they suffered both physical and emotional injuries from the incident. They’re seeking unspecified financial damages from Scott for claims of assault, battery, false imprisonment and intentional infliction of emotional distress.

A rep for Scott declined to comment on the lawsuit on Tuesday (July 14).

Lil Durk is still set to go before a Los Angeles jury next month in a federal murder-for-hire case, despite prosecutors’ attempt to delay the trial with new charges and evidence about alleged gang activity in Chicago.

Judge Michael W. Fitzgerald ruled on Tuesday (July 14) that the rapper (Durk Banks) will go to trial as scheduled on Aug. 20. During a hearing earlier in the day, where Billboard was present, the judge sharply admonished prosecutors for tacking on additional charges last month and then requesting to push back Durk’s already-delayed trial.   

In an original indictment from 2024, Durk is charged with putting a bounty on rival rapper Quando Rondo in retaliation for the 2020 killing of his close friend and collaborator King Von. Rondo was shot at a Los Angeles gas station in 2022 and survived, but another man was killed in the crossfire.

In June, prosecutors added new counts under the federal Violent Crimes in Aid of Racketeering Activity (VICAR) statute, which broadly criminalizes violent gang activity. The updated indictment claimed that in addition to the Los Angeles murder, Durk ordered additional killings and other crimes through his Chicago-based Only the Family (OTF) label crew.

Lead prosecutor Ian Yanniello argued in court on Tuesday that the new VICAR counts are inextricably tied to the existing charges, since the Los Angeles murder was allegedly “done on behalf of a gang.” But Judge Fitzgerald said he views the new charges as a strategy, albeit a “no doubt clever” one, to bolster the case with separate incidents that look bad for Durk.

“You think you will have a better chance to win if the Chicago count is tried with the Los Angeles murder. That’s obvious,” the judge told Yanniello during the hearing. “You treat that as a feature. I treat that as a bug.”

Judge Fitzgerald said it would be “much simpler” to have one trial focused only on the Los Angeles murder, and then potentially hold a second trial later on the VICAR gang counts. He told Yaniello that if the government felt so strongly about including the Chicago gang-related evidence in the initial trial, they should have pushed for it earlier.

“You chose not to do that,” Judge Fitzgerald said to the prosecutor. “You had over a year… so I don’t want to hear more argument that the third superseding indictment is necessary to prove the Los Angeles murder.”

Durk vehemently maintains he’s innocent of all charges against him. His defense team has argued that the latest indictment is “lipstick on a pig” and “an acknowledgment of weakness.” One of Durk’s lawyers, Drew Findling, told the press after Tuesday’s hearing that Judge Fitzgerald got it right in his comments from the bench.

“It’s one of those days that makes it so rewarding to be a trial attorney,” said Findling. “We so appreciate the thoroughness that took place in that courtroom today.”

Swedish Entertainment Company Pophouse Entertainment said on Tuesday (July 14) it acquired 50% stake in British heavy metal icons Iron Maiden‘s publishing and master music rights, and a stake in their name, image, and likeness (NIL) rights

Formed 1975 by founder and bassist Steve Harris in London, Iron Maiden remains one of the most enduring and influential bands in music history with 100 million records sold, 17 studio albums, major honors including Grammy, Brit and Ivor Novello awards. Terms of the deal, which Pophouse says was structured and developed over the last year with the band’s co-manager Andy Taylor, were not disclosed. BMG retains its relation with the band as their publisher.

“We are 50-50 partners with the band, and the plan is that we’re going to work together turbo charging Maiden’s plans for the future,” Jessica Koravos, CEO of Pophouse, which owns music rights of KISS, Cyndi Lauper and Tina Turner, tells Billboard. “With Pophouse, we’re always thinking around the visual identity and … there’s lots of world building that’s possible both in [Maiden’s] artwork, but also in the storytelling within the songs. The heavy metal genre, especially with the addition of Eddie, lends itself to a treatment potentially in the world of horror.”

Established by ABBA member Björn Ulvaeus and Conni Jonsson, founder of global private equity behemoth EQT AB, Pophouse is best known for its affiliation with ABBA Voyage, the London show where avatars of the ABBA members in their prime perform the band’s greatest hits. Koravos said Pophouse is collaborating with Iron Maiden on a film of its Run For Your Lives World Tour and other plans around interactive fan experiences and a digital universe centered around Eddie, Maiden’s longtime ghoulish mascot and a central part of the band’s imagery. The acquisition includes a stake in the rights relating to Eddie, alongside trademarks, personas and other associated IP covered by the NIL rights.

“I am very excited about our relationship with Pophouse and the ability we now have to pursue, facilitate, and finance our many plans and dreams quicker than we ever hoped,” Iron Maiden’s manager, Rod Smallwood, said in a statement. “The interest in the band has never been bigger and [with] this strategic partnership … the fans can be assured there is a great deal more to come for Maiden, and Eddie will rule, OK!!”

A mainstay heavy metal act for more than 50 years, Maiden has had four albums reach the top 10 of the Billboard 200 chart: Senjutsu, which in 2021 became Maiden’s highest-charting album debuting at No. 3, The Book of Souls in 2015, The Final Frontier in 2010, and A Matter of Life And Death in 2006. Maiden’s 1986 album Somewhere In Time notched the No. 11 spot on the Billboard 200.

From Madonna to the Rolling Stones, the catalogs of legacy acts typically generate less revenue from streaming and more from physical sales, airplay spins, concerts, merchandise sales and licensing their music for other media, like concert films, video games and comic books, all of which Maiden has done. It’s latest film, the documentary Iron Maiden: Burning Ambition, came out earlier this year alongside news that the group will be inducted into the Rock & Roll Hall of Fame in November.

According to Luminate, the Iron Maiden catalog averaged about 191,000 album equivalent units over the past four years in the United States, of which album sales totaled about 136,000 units while streaming averaged almost 172 million on-demand streams annually. However, outside the U.S. where Iron Maiden has a large and growing audience, the group averaged 1.055 billion on-demand streams annually.

The band’s live presence is legendary, and Koravos says they have no intention of cribbing the band’s ability to tour.

“One of the attractions of this catalog is the incredible fandom that surrounds them, and they’ve done the most incredible job over the years of giving those fans amazing shows every single time,” said Koravos, whose husband, Stuart Galbraith, CEO of KMJ Entertainment Group, was the promoter of Maiden’s recent Eddfest shows in Knebworth, United Kingdom. “I have a deep understanding of the Maiden fan, and I think the band would say they’ve brought us on board to turbo charge them, [not] to help them hang up their boots.”

Iron Maiden has played more than 2,500 shows in 64 countries worldwide, according to Pophouse, touring the world in a personalized Boeing 747 piloted by frontman Bruce Dickinson. (Dickinson is a licensed commercial airline pilot who used to fly with the British charter line Astraeus and once flew a group of Royal Air Force pilots home from Afghanistan in a flight chartered by the British Ministry of Defence.)

Touring that much is lucrative. For the 745 shows for which industry sources reported figures to Billboard Boxscore charts, the band has sold 10.5 million tickets and grossed $681.1 million since 1984. Those numbers are incomplete, as boxscore data is subject to data submitted by official industry sources, and it does not include merchandise sales.

The group draws massive audiences in Latin America, particularly in Brazil where Maiden played their first Rock in Rio festival in 1985. In late November, 2024, Maiden sold 119,000 tickets to their double-header at Santiago, Chile’s Estadio Nacional, making that stop the group’s best-selling concert stop, according to Billboard Boxscore.

The group also draws large crowds across Europe, particularly in their hometown of London where they played their highest-grossing show on June 28, 2025, at London Stadium grossed $8.9 million from 75,000 tickets. That show, part of the group’s 50th-anniversary Run For Your Lives World Tour, helped make Iron Maiden the 14th highest-grossing touring act in 2025, with 59 shows and more than 1.5 million tickets sold grossing nearly $151 million, according to Boxscore.

Catalog investors consider acts that are currently touring more appealing than artists who aren’t because those live shows activate the band’s fanbase, with ticket and merch sales providing current data to measure consumer demand and drive new fans to stream their music.

Insomniac Events has reached a settlement that will keep the global dance music company involved in two Miami venues following a protracted legal battle with a group of the city’s club operators.

In a joint statement to Billboard on Friday (July 10), reps for Insomniac and business partners David Sinopoli, Davide Danese and Jose Gabriel Coloma Cano say they “have amicably resolved their dispute.” Insomniac, partially owned by Live Nation, previously worked with the trio of men to run Miami’s Club Space and Factory Town venues until a legal fight broke out two years ago.

“Insomniac will continue to operate Club Space alongside David Sinopoli and maintain its commitment to Factory Town,” the reps say of the settlement. “Davide Danese and Coloma Cano will continue to operate Jolene, along with David Sinopoli.  Davide Danese and Coloma Cano will also undertake new projects.“

In 2019, Insomniac acquired an ownership stake in Club Space, at that point co-owned by Sinopoli, Danese and Cano, as its first Miami venue. The business relationship was a success at first, leading the group to embark on another joint project for the upstart Miami venue Factory Town in 2022.

That’s when the trouble arose. Insomniac alleges that in 2024, Sinopoli, Danese and Cano began to make “outrageous demands” for more money and control of Factory Town. The three men, meanwhile, claim Insomniac “methodically and unilaterally” stripped away their ownership rights over the venue, leaving them with “all the work, all the risk and a drastically reduced upside.”

The two sides went into mediation in June 2025 and emerged with an initial settlement, under which Insomniac would buy Sinopoli, Danese and Cano out of Factory Town for $3 million. But that August, Insomniac sued the trio for allegedly violating that deal, claiming they continued to operate as if they controlled the venue, including by telling Ibiza promoters that they’d “won their lawsuit” and interfering with event planning.

Sinopoli, Danese and Cano countersued Insomniac a month later, claiming the settlement actually required them to collaborate on Factory Town’s annual Hocus Pocus Halloween party and programming for Art Basel Miami. The trio said Insomniac breached the deal by unilaterally making talent booking decisions, such as an offer to party brand CircoLoco at a 44% markup from the prior year’s deal.

The countersuit also included some inflammatory allegations against Insomniac’s CEO, Pasquale Rotella. The legal papers accused Rotella of “predatory tactics and greed” and called him “insufferable to work with,” adding that Sinopoli, Danese and Cano “had the misfortune of witnessing and experiencing first-hand Rotella’s cruelty, self-centeredness and volatility.” Insomniac characterized these claims as an irrelevant “smear campaign.”

The two sides entered renewed settlement discussions in the fall. Their lawyers notified the judge overseeing their case last month that they’d reached a deal, and the case has now been closed.

The Supreme Court of Puerto Rico has ruled that Bad Bunny’s ex-girlfriend can continue suing the star for allegedly featuring her voice saying the phrase “Bad Bunny baby” on the chart-topping album Un Verano Sin Ti without permission.

In a Wednesday (July 8) ruling, obtained by Billboard and translated from Spanish by the service DeepL, a majority of justices on the island’s highest court upheld a series of previous rulings that sustained Carliz De La Cruz Hernández’s claims over the use of her voice on the 2022 song “Dos Mil 16”. However, the court said De La Cruz Hernández waited too long to sue over the same vocal sample on Bad Bunny’s 2015 track “Pa Ti,” and these claims are barred by the statute of limitations. The lawsuit will now move forward as to “Dos Mil 16” only.

De La Cruz Hernández dated Bad Bunny (Benito Martinez Ocasio) on and off for several years beginning in 2011, and in 2015 she recorded a voice memo saying the tagline “Bad Bunny baby” at his request. She sued the singer and his label, Rimas Entertainment, in 2023, alleging she had not given permission or gotten proper financial compensation for the use of this recording on his songs.

The lawsuit’s key claims are brought under Puerto Rico’s right of publicity law. Just like in many other U.S. jurisdictions, this statute protects an individual’s voice from being used without their consent in a commercial setting. Traditionally, this has meant that people can only sue over the use of their voices in advertisements, and sound recordings are exempt.

In this specific case, however, a Puerto Rico judge ruled in 2024 that De La Cruz Hernández’s voice on “Dos Mil 16” was actually a form of advertising. That’s because, according to the judge, the sample’s circulation on social media fueled fan speculation about whether Un Verano Sin Ti would explore De La Cruz Hernández and Bad Bunny’s romantic relationship, thus driving album sales.

This finding was upheld in an initial appeal last year. On Wednesday (July 8), Puerto Rico’s Supreme Court agreed as well that the various lower courts got it right when they declined to dismiss De La Cruz Hernández’s right of publicity claims: “They did not err in determining that the facts presented regarding the commercial or business exploitation of Ms. De la Cruz Hernández’s voice were sufficient to draw attention to the product in question or to inform the public about it through the media,” wrote Justice Mildred G. Pabón Charneco for the majority.

In addition to these claims over the use of her voice, De La Cruz Hernández will also be allowed to keep pursuing copyright claims against Bad Bunny for allegedly infringing her rights to the “Bad Bunny baby” voice memo. This part of the lawsuit was dismissed in 2024, but the Supreme Court majority revived it on Wednesday after finding that the recording was potentially copyrightable.

“To the extent that such a performance using her voice is fixed in a tangible medium, we recognize that copyright may arise in the recording,” wrote Justice Pabón Charneco. “Ms. De la Cruz Hernández alleged in her complaint that the recording of her personal, distinctive and incomparable rendition of the phrase was misused and that it was used without proper attribution. Therefore, we conclude that the plaintiff has presented sufficient facts to eventually offer evidence justifying this claim.”

Not all the justices on Puerto Rico’s top court agreed with these findings. Justice Angel Colón Pérez filed a dissent saying he and other justices would have dismissed both the copyright and right of publicity claims against Bad Bunny: “It seems clear to us that, in the context of the present litigation, none of the causes of action invoked by Ms. De La Cruz Hernández is legally valid under any [law] available in our jurisdiction,” wrote Justice Colón Pérez.

Reps for both De La Cruz Hernández and Bad Bunny did not immediately return requests for comment on the decision on Friday (July 10).

Grammy Award-winning band Cage the Elephant has inked a label deal with Big Loud Rock, Billboard can reveal.

The group has also released the new single “Beaches in Tennessee,” marking the band’s first new music in two years. Cage the Elephant includes Matt Shultz on vocals, Brad Shultz on rhythm guitar, Nick Bockrath on lead guitar, Matthan Minster on keyboards/guitar/backing vocals, Daniel Tichenor on bass and Jared Champion on drums.

Big Loud Rock, the rock/alternative imprint of Big Loud Records, has a roster that also includes Dexter and the Moonrocks, Blame My Youth and Common People.

“What Cage The Elephant has accomplished over the last twenty years speaks for itself, and what excites me most is that they’re nowhere near finished,” Big Loud co-founder and Big Loud Rock president Joey Moi said in a statement. “They’re still taking risks, pushing themselves creatively, and finding new ways to connect with fans. Seeing that renewed energy and perspective carry into this next chapter is incredibly exciting. Welcoming a band of this caliber to Big Loud Rock, alongside the incredible team at Q Prime, is a huge moment for us. We couldn’t be more excited for what’s ahead.”

“It’s definitely a new chapter,” Cage the Elephant’s Matt Shultz added. “We always try to write from life experience. Whatever we’re going through will undoubtedly make its way into the music. Even when going through difficult seasons, life can still prove to have no shortage of light memories. I’ve learned we don’t realize the things that we’re capable of making it through until we actually face them. Having fond memories during difficult times, is a blessing to say the least — which some of these songs do for certain. Navigating troubled waters many times reminds us how extraordinary life truly is. Life’s beautiful. It takes peaks and valleys to illustrate that beauty.”

The Kentucky-formed band is known for a steady string of hits including “Metaverse,” “Neon Pill,” “Come A Little Closer” and “Shake Me Down.” The group’s Grammy wins include two trophies for best rock album, for 2015’s Tell Me I’m Pretty and 2019’s Social Cues. They’ve earned 13 No. 1 hits on Billboard‘s Alternative Airplay chart.

Following the band’s run as special guests on Oasis Live ’25, it headed directly back into the studio. The group created its new song, “Beaches in Tennessee,” with producers Justin Raisen and SADPONY (Jeremiah Raisen).

“I liked several different albums Justin had worked on, including Kim Gordon and Yves Tumor,” says the group’s Brad Shultz. “For producers, he was at the top of my list. I flew out to L.A. and hung out with him in the studio one night. The energy was crazy. It was like two wool socks in a dryer. He brought in Jeremiah. There’s a common thread between them, but they make two different types of art. They have their own unique views and ways of doing things, so it’s been pretty cool to just jump between those two worlds. It’s made a pretty unique mix in what we’re doing. I knew they were the guys.”

“Beaches in Tennessee” creatively addresses a time when Cage The Elephant’s Matt Shultz weathered mental health struggles a few years ago. He said in a statement, “It’s no secret that I went through a mental health crisis a few years back; this song for me symbolizes me finally being able to move past it. I was hospitalized for nearly three months, the song addresses it by creating a fictionalized account of it. It was my attempt at reclaiming the ability to write about something serious that happened in my life, from a place of genuine experience.

“There’s a saying, ‘There’s nothing better than a poor Christmas,’” he continued. “It’s because you learn to make the most of what you have and appreciate it. Having gone through what I did, I’m grateful to have the perspective that I have now. The experience gave me a greater appreciation for my life when I came out on the other side. I’m thankful for where I’m at now in this new chapter. As a band, we were able to reclaim the ability to write a song rooted in a difficult and turbulent real-life event, but do it in a lighthearted way. I hope it helps someone else the way it helped me.”

“Musically, we always want to reinvent Cage The Elephant,” Brad Shultz said. “We’ve discovered a whole new side to our band, how we look at things, and how we make art. You’re growing constantly as an artist, and I think we’ve tapped into that growth. I do feel like we’re making the best music we’ve ever made. If anything, it’s definitely the most inspired.”

The members of rock band Lit have reached a settlement to end an $800,000 lawsuit against Sony Music over streaming royalties for their ’90s catalog.

A Tuesday (July 7) court filing, first obtained and reported by Billboard, says Sony has agreed on a “settlement in principle” with Lit frontman A. Jay Popoff, guitarist Jeremy Popoff, bassist Kevin Baldes and the estate of late drummer Allen Shellenberger. The band is best known for the hit 1999 single “My Own Worst Enemy,” which spent 11 weeks at No. 1 on Billboard’s Alternative Airplay chart and has more than 500 million streams on Spotify.

A written settlement agreement is currently in the process of being finalized. The terms of the deal have not been disclosed, and reps for Lit and Sony did not immediately return requests for comment on the resolution.

The members of Lit sued Sony in March, seeking a greater share of their streaming royalties. The major music company, whose subsidiary RCA Records signed Lit in 1998, had up until then been paying the musicians a basic 14% U.S. recorded royalty rate for plays on Spotify and other digital streamers.

However, Lit argued it was entitled to more because of a clause in the band’s 1998 record deal with RCA that allocates the band 50% of net proceeds from master use licenses of its music. In a parenthetical, the contract says an example of this would be “RCA’s license to another person of the right to embody a master recording on a website in a so-called ‘streaming’ format, which is not subject to the ‘digital download’ of that master recording by a viewer.”

It’s not clear how this clause made it into Lit’s record deal, since music streaming was still in its most nascent stage in 1998; MP3s were only invented in 1993, and the first mainstream streaming platforms like PressPlay and Rhapsody didn’t launch until the early 2000s. Even Napster, which hosted music downloading rather than streaming, didn’t arrive until 1999.

Lit’s members claimed that this anomalous contract language entitled them to $800,000 in allegedly underpaid streaming royalties. According to the lawsuit, the band tried to negotiate a more favorable split before going to court, but Sony offered “a half-hearted defense” of the traditional royalty rate and then stopped responding entirely.

In May, a lawyer for Sony said in a court filing that the band “commenced settlement discussions” after the lawsuit was filed. A judge closed the case following notification of the deal on Tuesday.

As Warner Music Group (WMG) begins to integrate distributor Revelator after acquiring it earlier this year, the company announced that it’s expanding Alternative Distribution Alliance (ADA), the company’s independent and label services division, in Europe, the Middle East and Africa (EMEA). Along with the expansion, WMG announced that Howard Corner will take on the newly created role of head of ADA, EMEA.

Corner has led ADA UK since 2013 and will remain in his current position of managing director of the division following the expansion. He reports to Simon Robson, president of recorded music, EMEA, and is based out of the company’s London offices.

“The EMEA landscape is teeming with brilliant independent talent and entrepreneurial labels looking for a partner that can scale their vision globally without sacrificing local agility,” Corner said in a statement. “I’m incredibly excited to step into this regional role and work alongside our exceptional territory heads to elevate ADA’s offering. By integrating Revelator’s game-changing technology and officially welcoming ADA x Africori and ADA x Qanawat Music into the family, we’re creating an unmatched, tech-driven partner for the independent community.”

Israel-based Revelator was founded in 2012 by CEO Bruno Guez; the company also has a significant presence in Asia. WMG said it intends to use the company’s technology for all of its labels and ADA. Fully integrating that technology will likely take years.

Major labels have increasingly looked to acquire indie distributors, whose market share has grown in recent years. In February, Universal finalized its acquisition of Downtown Music for $775 million, while WMG acquired Revelator in April after seeking to acquire a distribution company for two years. It had previously looked into acquiring Believe and also considered building a distributor of its own before backing away from both. Back in 2015, Sony Music completed its buyout of The Orchard, the current market share leader among distributors in the U.S.

“To supercharge the momentum of our artist and label services business, we’re bringing in a seasoned leader who deeply understands the nuances of the indie ecosystem,” Robson said of Corner’s new role. “Howard’s proven track record, fierce commercial drive and profound respect for independent music culture make him the ideal exec to support our local teams and drive regional growth. Armed with Revelator’s cutting-edge platform, Howard and the team are perfectly positioned to redefine what a global music partner can look like.”

Ed Sheeran will sign a record deal with Interscope, sources have confirmed with Billboard. The news comes after Sheeran announced in May that he had left his longtime label home, Warner Music Group (WMG).

Sheeran signed with Asylum/Atlantic U.K. A&R Ed Howard in 2011. Shortly after that, he rose to fame with the release of his 2011 debut album, +, which was certified three-times platinum by the RIAA. His sophomore set, x, was an even bigger seller thanks to the success of singles like “Thinking Out Loud,” “Don’t” and “Photograph,” all of which hit the top 10 of the Billboard Hot 100. He continued a string of chart successes with subsequent releases, scoring a total of eight top five albums on the Billboard 200, including four No. 1s. He’s also scored a total of nine top 10 singles on the Hot 100, including two No. 1s: “Shape of You” and “Perfect,” both released in 2017.

“I’ve decided to leave Asylum/Warner last month. I leave the company with SO much love and gratitude for everything we have achieved together,” Sheeran said in announcing his exit from WMG. “This isn’t a ‘disgruntled artist leaves record label’ type situation. This is a boy who started as a teenager on the company with different priorities, to the father of 2 man who exists now, who feels like he needs a shift and change in the way he does things professionally.”

WMG will hold onto Sheeran’s catalog of hits and has long-term licenses for his two most recent albums, Autumn Variations and Play, both of which were jointly released on Sheeran’s own label, Gingerbread Man, and Atlantic.

Interscope did not immediately respond to Billboard‘s request for comment. The Hollywood Reporter was first to report the news.