Young MC is the latest artist to walk away from the lineup of the Great American State Fair, the event celebrating America’s 250th anniversary.

The “Bust a Move” rapper was initially announced to the bill, alongside the likes of Martina McBride, Flo Rida, C+C Music Factory, Vanilla Ice, Milli Vanilli, The Commodores, and others, all of them participating in the 16-day “national exposition” kicking off June 25 and wrapping up July 10, with musical performances every Thursday, Friday and Saturday night.

In a social post, Young MC confirms he is out. “I HAVE INFORMED MY AGENTS THAT I WILL NOT BE PERFORMING AT THE FREEDOM 250 EVENT,” he writes. “The artists were never told about any political involvement with the event. And despite the claims by the organizers that the event is non-partisan, SPIN magazine describes it as Trump-backed. I hope to perform in D.C. in the near future at an event that is not so politically charged.”

A description on the Freedom 250 website downplays the political angle of the 250^th anniversary event. “The celebration will unite and showcase all 56 U.S. states and territories in a single World’s Fair-scale event,” reads the blurb. “This is an opportunity for visitors from across America to experience an unforgettable celebration of the people and traditions that define our nation.”

Also featuring carnival rides and stations showcasing the cultures of all 56 American states and territories, the festival will mark the finale of President Donald Trump’s year-long Great American State Fair, which also involves activations in state fairs across the country. The twice-impeached president first previewed plans for the celebrations in July last year, with the White House promising at the time that the administration would “throw the greatest birthday party in American history.”

Young MC joins Morris Day & The Time, which separately left the line-up with the message: “Contrary To Rumor, Morris Day & The Time Will Not Be Performing At The ‘GREAT AMERICAN STATE FAIR.’” A caption for the post adds “It’s a no for me,” with a smiley-face emoji wearing sunglasses.

Born in London, England, to Jamaican immigrant parents, and raised in New York city, the 59-year-old Young MC (real name: Marvin Young) was one of hip-hop’s earliest hitmakers on the Billboard charts, and enjoyed several top 10 hits on the Billboard Hot 100.

As a songwriter, he’s credited with two 1989 smashes for Tone-Loc that enjoyed crossovers, not just in the U.S. music scene but on charts and airwaves around the globe. “Wild Thing” went to No. 2 on the Billboard Hot 100 – at the time, the genre’s highest peaking hit on the flagship chart – while “Funky Cold Medina” nearly duplicated the feat, reaching a No. 3 best. In the same year, he nabbed another classic, this time as a solo artist with “Bust a Move,” which blasted to No. 7 on the Hot 100 and won a Grammy Award for best rap performance.

Delta Goodrem one year, Keli Holiday the next.

The Australian singer, songwriter and co-founder of electronic duo Peking Duk, isn’t against the idea of following in Delta’s footsteps and representing Australia at the Eurovision Song Contest.

Holiday (real name: Adam Hyde) stopped by Triple M’s Mick in the Morning on Wednesday, May 27 for a chat with co-hosts Mick Molloy, Rosie Walton, and Nick Riewoldt.

Funnyman Molloy pitched the idea of Holiday throwing his hat into the glittery ring that is Eurovision. “I had a fever dream the other day,” Molloy remarked, “you would win us Eurovision.” He continued, “it’s possibly of no interest to you… it’d be incredible. You go there and do that (“Dancing2” dance), and they would lose their minds.”

Holiday was on the same page. “No, I would give it a crack. We could do it,” he enthused.

Goodrem is a hard act to follow. With her performance of “Eclipse” earlier this month at Wiener Stadthalle, Austria, Australia placed fourth overall – the country’s second-highest placement in the contest’s history, behind only Dami Im’s second-placed finish a decade earlier, in 2016.

Holiday is flying high right now, thanks to his viral hit “Dancing2,” song of the year winner at the 2025 ARIA Awards. Its parent album, Capital Fiction, opened at No. 3 on the all-genres ARIA Albums Chart in February, and topped the national Australian albums tally. The Canberra-based artist supported the record with a national tour in March that went deep into regional Australia, and headed abroad with his first-ever run of dates in North America. That’s where Holiday was, briefly, grounded.

As previously reported, Holiday says he was denied re-entry into the United States during that trek, forcing him to cancel a planned New York City performance and return home early. “Unfortunately I’m not going to make it to tonight’s show at Baby’s All Right in NYC,” Holiday wrote on Instagram in March. “I have spent all day detained at the Canadian border and denied entry back into the U.S. despite having the proper visa documentation in place.”

Speaking on breakfast radio, Holiday said he can’t wait to get back. “I was meant to go to Ol’ Mates [a pub connected to Aussie comedians Hamish Blake and Andy Lee], I was going to do a surprise set there and have a bunch of fun with a bunch of people,” he remarks. “I’m not at liberty to discuss such matters fully at this time… (laughs)… but what I will say, is that I love the United States. I’m gutted I couldn’t do the New York City show, and I hope to get back there soon because there is a lot of people wanting a Keli Holliday show, but I want to bring it to them, so we’ll see.”

The Keli Holiday experience continues with tour dates Down Under, the United Kingdom and Europe.

An appeals court has ruled that George Clinton must face a trial to determine whether a portion of the Parliament-Funkadelic catalog is co-owned by the heirs of late keyboardist Bernie Worrell.

In September, a federal judge in Detroit threw out the lawsuit brought by Worrell’s widow after determining that the statute of limitations had long expired. But the Sixth Circuit Court of Appeals reversed that dismissal on Wednesday (May 27), holding that it’s up to a jury to decide whether the claims are timely or not.

“The estate has successfully pointed to facts potentially rendering this the rare case in which a copyright-ownership claim may be brought a half-century after-the-fact,” wrote a panel of three appellate judges in the ruling, obtained by Billboard.

The dispute stems from a 1976 contract between Worrell and Clinton, in which the keyboardist released his ownership stake in the P-Funk masters in exchange for recorded royalties. This led to numerous court battles over the years about how to properly split these royalties, both during Worrell’s life and after his death from lung cancer in 2016.

The pivotal moment came in one such lawsuit in 2020, when Clinton’s attorneys claimed for the first time that the 1976 deal was null and void because Clinton never signed it. This led the Worrell estate to try a new tack and file the current lawsuit, which alleges that Worrell never stopped owning his share of the masters in the first place.

According to the Sixth Circuit, it remains unclear whether the statute of limitations for these claims expired decades ago or only began running in 2020. However, the judges said a trial is only appropriate on the songs expressly covered in that contract — those created between 1976 and 1979 — and not the entire catalog from Worrell’s time in P-Funk between 1969 and 1981.

Clinton’s lawyers had separately argued that the case should be thrown out because there’s insufficient evidence of Worrell co-creating these P-Funk songs. The Sixth Circuit rejected this too on Wednesday, saying there’s clearly enough fodder for a jury to decide otherwise.

“To start, we need look no further than Clinton’s own admissions. He recognized in this litigation that Worrell ‘radically charted the course of emerging keyboard technology during the golden age of analog synthesis,’ and that he brought to the table a ‘sonic stew’ including ‘perfect pitch and a well-honed facility with a classical canon,’” wrote the panel. “These statements contradict any suggestion that Worrell was just a session player or hired hand.”

The case will now head back down to the federal district court to prepare for a trial, unless a settlement is reached. A lawyer for the Worrell estate, Richard Busch, said in a statement that the Sixth Circuit’s ruling “is a great step in the right direction.”

“Bernie Worrell was the heart and soul of Parliament-Funkadelic but had to spend years of his life chasing Mr. Clinton for what he believed Mr. Clinton owed him,” added Busch. “While he is no longer with us, Bernie’s loving wife Judie continues to fight for Bernie’s rights.”

Clinton’s attorney, Jim Allen, said in his own statement, “We respectfully disagree with the Sixth Circuit’s decision and believe it requires some unusually large leaps in logic, metaphysics and precedent to transform a disputed, judicially-invalidated 1976 agreement into a springboard for copyright claims fifty years later.”

Allen emphasized, however, that the ruling “is extraordinarily narrow” and allows for a trial on only ” a tiny fraction of the decades-long body of work George Clinton created and led.”

“We also look forward to finally litigating this case in a courtroom rather than through the fog of mythology, revisionist history and shadow-boxing conducted by interests that have been hovering around the P-Funk business empire for decades without ever quite wanting to step fully into the light,” added Allen. “The Mothership keeps flying. Trial is next. We will prevail.”

Clinton is separately suing Universal Music Group (UMG) for freezing his royalties amid the Worrell litigation. That case remains pending.

After a major viral moment sparked by the Prime Video series Off Campus, Jennifer Lopez’s “On the Floor,” featuring Pitbull, returns to the Billboard charts, as the song debuts at No. 117 on the Billboard Global 200 and No. 80 on the Global Excl. U.S. charts (dated May 30).

“On the Floor” sees a resurgence following a steamy scene starring the character Allie (Mika Abdalla), dressed as J.Lo, and Dean (Stephen Kalyn), dressed as Tom Cruise’s character Maverick from the Top Gun films, who dance to Lopez’s 2011 hit at a Halloween party. Lopez later joined the moment on social media, teaming up with Abdalla to re-create part of the scene and dance to the song.

“On the Floor” opens at No. 117 on the Billboard Global 200 chart, totaling 15.1 million streams worldwide during the May 15-21 tracking week, according to Luminate. The streaming surge gives Lopez her second entry on the chart, following “Pa’ Ti” with Maluma in 2020 (No. 106 high). For Pitbull, “On the Floor” marks his third chart visit, his highest being the No. 106-peaking “Give Me Everything,” featuring Ne-Yo, Afrojack and Nayer (2025).

On the Global Excl. U.S. chart, “On the Floor” earns Lopez and Pitbull their second entry each, debuting at No. 80 with 12.5 million streams earned outside the U.S. during the tracking week.

The song also remains a milestone in both artists’ chart histories: It marked one of Lopez’s 10 top 10s on the Billboard Hot 100 — where it peaked at No. 3 in 2011 among her 32 career entries — and stands as one of Pitbull’s 10 top 10s among 45 total entries.

Adding on, the hit peaked at No. 2 on the multimetric Hot Latin Songs chart in June 2011, where Lopez secured seven top 10s and Pitbull 17 to date.

“On the Floor” was the first single from Lopez’s seventh studio album, LOVE?, released on Island Def Jam in April 2011. It debuted and peaked at No. 5 on the all-genre Billboard 200 chart.