The DHS has responded to Olivia Rodrigo‘s recent remarks about the department’s use of one of her songs in a video promoting ICE.

In a statement shared with Billboard on Thursday (March 19) — just hours after the singer’s British Vogue cover story was published, featuring Rodrigo calling ICE’s actions “disturbing” — a spokesperson for the DHS said, “America is grateful all the time for our federal law enforcement officers who keep us safe.”

“We suggest Ms. Rodrigo thank them for their service, not belittle their sacrifice,” it continued. “ICE does NOT separate families. Parents are given a choice to either take their child with them or place them in the care of someone they designate. This is consistent with past administration’s immigration enforcement.”

Billboard has reached out to Rodrigo’s rep for comment.

The first sentence in the DHS spokesperson’s comment references lyrics in Rodrigo’s “All-American Bitch,” the song used in a November video glorifying footage of ICE officers tackling and forcibly detaining people. At the time, the Grammy winner had commented, “don’t ever use my songs to promote your racist, hateful propaganda.”

Four months later, Rodrigo again condemned ICE in British Vogue. “That was awful. Dystopian,” she said of finding out the agency had used her Billboard Hot 100 hit without permission. “The way that ICE is ripping apart communities and terrorizing people is so disturbing. It’s a really sad, scary time.”

Even before the unauthorized song usage, Rodrigo was speaking out against ICE. Amid the organization’s raids on immigrant communities in Los Angeles last year, she wrote on her Instagram Story, “I’ve lived in LA my whole life and I’m deeply upset about these violent deportations of my neighbors under the current administration … Treating hardworking community members with such little respect, empathy, and due process is awful.”

Numerous other stars have voiced criticism for the actions of ICE under President Donald Trump as well, particularly after the deaths of Minnesotan civilians Renee Good and Alex Pretti, both of whom were shot and killed by immigration enforcement officers in Minneapolis at the beginning of the year. The DHS has also hit back at other musicians beyond Rodrigo, claiming in a statement to Billboard that Billie Eilish was spreading “garbage rhetoric” by resharing posts calling ICE a “terrorist organization” in January.

A jury has rejected legal claims brought against Chance the Rapper by his longtime manager Pat Corcoran, known as Pat the Manager.

Chicago jurors came back with the verdict on Friday night (March 20) following a two-and-a-half week trial in the messy legal battle between Chance (born Chancelor Bennett) and Corcoran, who were once inseparable but parted ways on bad terms a few years back.

Corcoran first sued Chance in 2020, alleging he was owed $3.8 million in unpaid commissions — including under a so-called “sunset clause” that ran three years post-termination — even though the two never had a written contract. The jury rejected those claims on Friday, according to the Chicago Sun-Times.

Jurors also sided with Chance on his 2021 countersuit, which accused Cocoran of breaching fiduciary duties and exploiting career opportunities for his own benefit. But they awarded the rapper only $35 in damages, per the Sun-Times, rather than the $1 million sought by Chance.

In a statement sent to Billboard, Jay Scharkey, an attorney for Corcoran, said, “We respect the jury’s decision, but the message to music managers is clear: Get it in writing. The jury award of $35 speaks to how seriously the jury viewed Chance’s case.”

A representative for Chance did not immediately provide comment on the outcome.

The verdict followed closing arguments on Friday, during which lawyers for Chance and Corcoran made their final pitches to the jury in the years-long legal fight.

“This story is about someone who becomes famous and forgets what it took to get him there,” said Robert D. Sweeney, one of Corcoran’s lawyers, setting the tone for his closing statement.

Sweeney argued that the case centers on securing the money Corcoran says he’s owed under a 15% net deal allegedly struck early in Chance’s career in 2013, including the three-year post-termination “sunset clause.” 

Sweeney pointed to Corcoran as the “common denominator” in Chance’s success, citing the 2016 album Coloring Book’s feats on the Billboard 200, where it spent 125 weeks, plus his three Grammy wins the following year. He went on to compare it to Chance’s 2025 Star Line, released after the two stopped working together, which spent just one week on the Billboard 200. “You can be great, but if you don’t have the right people around you, how’s that going to work out?” Sweeney said.

Sweeney added that there was “no doubt Pat loved this guy,” describing how Corcoran went the extra mile by taking on roles in promotion and distribution. “Pat took his 15% and did everything to prove the big labels wrong and the importance of staying independent,” he said.

“This [case] is about two guys working their butts off, then having a disagreement, parting ways and someone not getting paid,” Sweeney said, adding: “Pat brings a claim for breach of contract of an oral agreement. It’s hard to know what was said, so it’s about which story makes sense.”

When Chance’s lawyer, Precious S. Jacobs-Perry, took the floor, she told jurors that there is “no evidence” of a sunset agreement beyond “Pat’s own say so,” framing the case as “all about Pat’s greed and wanting something he doesn’t deserve. Just because you want it, doesn’t mean you take it.”

Jacobs-Perry presented written communications between the two parties starting in 2014, in which Corcoran outlined the oral agreement, which included the 15% management commission but made no mention of the post-termination agreement. The alleged sunset clause, she said, was first mentioned in Corcoran’s November 2020 lawsuit.

She went on to argue that Corcoran took undue credit for the rapper’s success while building his own ventures, ultimately neglecting Chance’s projects. “All companies he created had nothing to do with Chance, he was investing in himself. Pat used his position to enrich himself repeatedly,” she said, adding, “He chose not to be by Chance’s side like he was before.”

Jacobs-Perry also pointed to alleged lapses in management, including 24,000 merchandise orders that went unfulfilled in 2019, arguing Corcoran had become “absent” and overly reliant on delegation.

She further accused Corcoran of seeking equity in Chance’s recordings through UnitedMasters in 2017. According to Jacobs-Perry, Chance confronted him after the fact, “hoping his friend would tell him it wasn’t true.” Sweeney, however, maintained his client was not seeking ownership, but compensation for past work.

In closing, Jacobs-Perry said two key questions remain: whether the alleged sunset agreement exists, and whether Corcoran “interfered” in Chance’s career by inserting himself into deals without the artist’s knowledge.

“Pat filed his complaint, Chance decided to stand up for himself,” she said. “Chance chose independence, freedom and Pat had a golden opportunity to work with a talented artist. But he squandered that opportunity by betraying his friend.”

The Pussycat Dolls couldn’t stay hush-hush forever about original member Carmit Bachar claiming that she wasn’t invited to the band’s upcoming reunion trek.

In an interview on Today on Friday (March 20) — three days after Bachar wrote on Instagram that she “was not contacted” ahead of the girl group’s new music release and tour announcement — Nicole Scherzinger, Kimberly Wyatt and Ashley Roberts were asked head-on why they hadn’t included their former bandmate in the comeback. “Well, I mean, listen — we are just, so, as women today …,” Scherzinger began, struggling momentarily to find the words.

“I mean, it has been an ever-changing lineup, and this is what it looks like now in 2026,” Wyatt jumped in. “You never know what comes next. Ultimately, we’ve got to protect our peace, and when something like The Pussycat Dolls has so much history … we have ruptured in the past, and right now we are repairing, and we’re sort of on the same page with that.”

Scherzinger then spoke up again to finish her thought. “But what I wanted to say is, we have so much love and respect for all of the women that have been part of the PCD legacy. Once a Doll, always a Doll.”

Now a trio, the Pussycat Dolls launched their grand return on March 12, dropping new banger “Club Song” and sharing plans for a 53-date reunion tour kicking off in June. A few days after the news, Bachar posted a lengthy message, writing, “In light of recent developments, I feel it is important to speak honestly and respectfully. I was not contacted regarding the group’s decision to move forward, and I learned of these plans at the same time as the public.”

“Given my history with the brand, having been part of its foundation long before its commercial debut and instrumental in the connections that led to the record deal … I would have appreciated direct communication,” she continued at the time. “While this is disappointing on a personal level, I remain proud of the role I played in helping shape what The Pussycat Dolls became.”

Debuting in 1995, the Pussycat Dolls started out as a sextet that also featured Melody Thornton and Jessica Sutta. Over the years, they’ve charted 11 songs on the Billboard Hot 100 and two albums on the Billboard 200.

Bachar was part of the Dolls’ reunion in 2019, for which they performed as a quintet — sans Thornton — on The X Factor: Celebrity, later dropping “React” in February 2020. That comeback was short-lived, however, as the COVID-19 pandemic forced them to postpone a tour they’d had planned for that year. The trek was eventually scrapped entirely in 2022, at which point Bachar and Sutta wrote on Instagram that they hadn’t been notified before the announcement of its cancelation.

Watch Scherzinger, Wyatt and Roberts address Bachar’s claims on Today above.